Samuel Geoffrey > Samuel's Quotes

“Before he dies, all his experiences in these long years gather themselves in his head to one point, a ques-tion he has not yet asked the doorkeeper. He waves him nearer, since he can no longer raise his stiffening body. The doorkeeper has to bend low towards him, for the difference in height between them has altered much to the man's disadvantage. "What do you want to know now?" asks the doorkeeper; "you are insati-able." "Everyone strives to reach the Law," says the man, "so how does it happen that for all these many years no one but myself has ever begged for admit-tance?" The doorkeeper recognizes that the man has reached his end, and to let his failing senses catch the words roars in his ear: "No one else could ever be admitted here, since this gate was made only for you. I am now going to shut it.”
― Franz Kafka, The Trial

“Of all creatures that breathe and move upon the earth, nothing is bred that is weaker than man.”
― Homer, The Odyssey

“Hateful to me as the gates of Hades is that man who hides one thing in his heart and speaks another.”
― Homer, The Iliad

“The love of literature, of language, of the mystery of the mind and heart showing themselves in the minute, strange, and unexpected combinations of letters and words, in the blackest and coldest print—the love which he had hidden as if it were illicit and dangerous, he began to display, tentatively at first, and then boldly, and then proudly.”
― John Williams, Stoner

“Even if you’re going to live three thousand more years, or ten times that, remember: you cannot lose another life than the one you’re living now, or live another one than the one you’re losing. The longest amounts to the same as the shortest. The present is the same for everyone; its loss is the same for everyone; and it should be clear that a brief instant is all that is lost. For you can’t lose either the past or the future; how could you lose what you don’t have?”
― Marcus Aurelius, Meditations

“How dangerous is the acquirement of knowledge and how much happier that man is who believes his native town to be the world, than he who aspires to be greater than his nature will allow.”
― Mary Shelley, Frankenstein

“Which monster do you choose?”
― John Ajvide Lindqvist, Let the Right One In

“What is hell? I maintain that it is the suffering of being unable to love.”
― Fyodor Dostoevsky, The Brothers Karamazov

“I love mankind, he said, "but I find to my amazement that the more I love mankind as a whole, the less I love man in particular.”
― Fyodor Dostoyevsky, The Brothers Karamazov

“The mystery of human existence lies not in just staying alive, but in finding something to live for.”
― Fyodor Dostoyevsky, The Brothers Karamazov

“Not hear it? --yes, I hear it, and have heard it. Long --long --long --many minutes, many hours, many days, have I heard it --yet I dared not --oh, pity me, miserable wretch that I am! --I dared not --I dared not speak! We have put her living in the tomb!”
― Edgar Alan Poe, The Fall of the House of Usher

“I cannot make you understand. I cannot make anyone understand what is happening inside me. I cannot even explain it to myself.”
― Franz Kafka, The Metamorphosis

“The witch approached it and pared its edges with a sword that she drew from her thigh. Then she sat down beside it on the earth and sang to it while it cooled. Not like the runes that enraged the flames was the song she sang to the sword: she whose curses had blasted the fire till it shrivelled big logs of oak crooned now a melody like a wind in summer blowing from wild wood gardens that no man tended, down valleys loved once by children, now lost to them but for dreams, a song of such memories as lurk and hide along the edges of oblivion, now flashing from beautiful years of glimpse of some golden moment, now passing swiftly out of remembrance again, to go back to the shades of oblivion, and leaving on the mind those faintest traces of little shining feet which when dimly perceived by us are called regrets. She sang of old Summer noons in the time of harebells: she sang on that high dark heath a song that seemed so full of mornings and evenings preserved with all their dews by her magical craft from days that had else been lost, that Alveric wondered of each small wandering wing, that her fire had lured from the dusk, if this were the ghost of some day lost to man, called up by the force of her song from times that were fairer.”
― Lord Dunsany, The King of Elfland's Daughter

“And little he knew of the things that ink may do, how it can mark a dead man's thought for the wonder of later years, and tell of happenings that are gone clean away, and be a voice for us out of the dark of time, and save many a fragile thing from the pounding of heavy ages; or carry to us, over the rolling centuries, even a song from lips long dead on forgotten hills.”
― Lord Dunsany, The King of Elfland's Daughter

“We leave this behind in your capable hands, for in the black-foaming gutters and back alleys of paradise, in the dank windowless gloom of some galactic cellar, in the hollow pearly whorls found in sewer like seas, in starless cities of insanity, and in their slums . . . my awe-struck little deer and I have gone frolicking.”
― Thomas Ligotti

“So, to do right by a Gothic tale, let's be frank, requires that the author be a militant romantic who relates the action of his narratives in dreamy and more than usually emotive language. Hence, the well-known grandiose rhetoric of the Gothic tale, which may be understood by the sympathetic reader as not just an inflatable raft on which the imagination floats at its leisure upon waves of bombast, but also as the sails of the Gothic artist's soul filling up with the winds of ecstatic hysteria. So it's hard to tell someone how to write the Gothic tale, since one really has to be born to the task. Too bad.”
― Thomas Ligotti, Songs of a Dead Dreamer and Grimscribe

“Life is a nightmare that leaves its mark upon you in order to prove that it is, in fact, real.”
― Thomas Ligott, Songs of a Dead Dreamer

“It’s strange how you’re sometimes forced to assume an unsympathetic view of yourself through borrowed eyes.”
― Thomas Ligotti, Songs of a Dead Dreamer

“And one thing we know is real: horror. It is so real, in fact, that we cannot be sure it could not exist without us. Yes, it needs our imaginations and our consciousness, but it does not ask or require our consent to use them. Indeed, horror operates with complete autonomy. Generating ontological havoc, it is mephitic foam upon which our lives merely float. And, all said, we must face up to it: horror is more real than we are.”
― Thomas Ligotti, Songs of a Dead Dreamer

“To know ten thousand things, know one well”
― Miyamoto Musashi, A Book of Five Rings: The Classic Guide to Strategy