“It is presumptuous to desire to die happy – but content seems a reasonable compromise.”
— Dead Man’s Narrative - Michael Mander (Read Free on Widbook)
“What if you don’t complete the person that completes you?”

(via alex-ishtar)

Forget the suffering
You caused others.
Forget the suffering
Others caused you.
The waters run and run,
Springs sparkle and are done,
You walk the earth you are forgetting.

Sometimes you hear a distant refrain.
What does it mean, you ask, who is singing?
A childlike sun grows warm.
A grandson and a great-grandson are born.
You are led by the hand once again.

The names of the rivers remain with you.
How endless those rivers seem!
Your fields lie fallow,
The city towers are not as they were.
You stand at the threshold mute.

— Czeslaw Milosz, “Forget” (via heteroglossia)

(via fuckyeahexistentialism)

“But I wanted it badly, and took it, for this reason: in my experience, penitence is more attainable than permission.”
— Barbara Kingsolver; The Lacuna
“As Marlowe, Milton, Goethe, and every other writer who has meddled with the Devil has discovered, the chief difficulty is to prevent this sympathetic character from becoming the hero of the story.”
— Dorothy L. Sayers, in the foreword to The Devil To Pay

(via theliterarysnob)

“Horror violates the taken-for-granted ‘natural’ order. It blurs boundaries and mixes categories that are usually regarded as discrete to create…’[im]purity and danger.’ The anomaly manifests itself as the monster: a force that is unnatural, deviant, and possibly malformed. The monster violates the boundaries of the body in a two-fold manner: through the use of violence against other bodies…and through the disruptive qualities of its own body. The monster’s body is marked by the disruption of categories; it embodies contradiction. The pallor of the vampire, the weirdly oxymoronic ‘living dead’ signifies death, yet the sated vampire’s veins surge with the blood of its victim. The monster disrupts the social order by dissolving the basis of its signifying system, its network of differences: me/not me, animate/inanimate, human/nonhuman, life/death. The monster’s body dissolves binary differences.

The monster signifies what Julia Kristeva calls the ‘abject,’ that which does not ‘respect borders, positions, rules’—‘the place where meaning collapses’. Danger is born of this confusion because it violates cultural categories. This is why the destruction of the monster is imperitave; it is only when the monster is truly dead and subject to decay that it ceases to threaten the social order. Disintegration promises to reduce the monster to an undifferentiated mass, one that no longer embodies difference and contradition, for ‘where there is no differentiation, there is no defilement’.”
— Isabel Cristina Pinedo, Recreational Terror: Women and the Pleasures of Horror Film Viewing

(via questionableliterarymerit)

“There is the great lesson of ‘Beauty and the Beast,’ that a thing must be loved before it is lovable.”
— G. K. Chesterton

(via paperlanternlit)

“For there is nothing heavier than compassion. Not even one’s own pain weighs so heavy as the pain one feels with someone, for someone, a pain intensified by the imagination and prolonged by a hundred echoes.”
— The Unbearable Lightness of Being, Milan Kundera
“If you’re losing your soul and you know it, then you’ve still got a soul left to lose.”
— A Dollar and Twenty Cents
Charles Bukowski
“No matter how careful you are, there’s going to be the sense you missed something, the collapsed feeling under your skin that you didn’t experience it all. There’s that fallen heart feeling that you rushed right through the moments where you should’ve been paying attention.”
— Invisible Monsters, Chuck Palahniuk