Quotes about horror
page 4

Pierre Gassendi photo
Chris Murphy photo
Fyodor Dostoyevsky photo
Henry Adams photo
Edgar Rice Burroughs photo
Arthur Ponsonby photo
Margaret Sanger photo
Fritz Leiber photo
Ossip Zadkine photo

“A cry of horror against the inhuman brutality of this act of tyranny.”

Ossip Zadkine (1890–1967) French sculptor

Quote of Zadkine c. 1953; as cited by M.G. Schenk, in Ossip Zadkine', Amsterdam 1967; as quoted in Sculpture International Rotterdam https://www.sculptureinternationalrotterdam.nl/en/collectie/the-destroyed-city - 'The Destroyed City'
According to Zadkine the idea for his sculpture 'The Destroyed City' was born when he arrived by train in the devastated city of Rotterdam in 1946/47, and saw the destroyed heart of the city because of the bombings by the German air-force, 14 May 1940
1940 - 1960

Bill Hicks photo
Brian Clevinger photo
Daniel Dennett photo

“I'm trying to change the world or at least to make the horrors of the global capitalism visible. I don't care much about art. I used to be a total artist but now I'm more a human being.”

Riiko Sakkinen (1976) Finnish visual artist

"More a Human Being than an Artist" (6 February 2013) http://www.riikosakkinen.com/blog/?show=archive&m=02-2013

Aron Ra photo

“The supposedly sacred fables in the Bible describe God as creating evil intentionally, of consorting with evil, being compelled by evil, and of gambling with the devil -with human suffering as the desired outcome. In fact, God is depicted as being almost entirely evil himself, throughout the entire cluster of repugnant horror stories.”

Aron Ra (1962) Aron Ra is an atheist activist and the host of the Ra-Men Podcast

Patheos, A Letter to a Certain Christian http://www.patheos.com/blogs/reasonadvocates/2013/10/12/a-letter-to-a-certain-christian/ (October 12, 2013)

George Frisbie Hoar photo
Jean Metzinger photo

“Instead of copying Nature, we [ Cubists ] create a 'milieu', of our own, wherein our sentiment can work itself out through a juxtaposition of colors. It is hard to explain it, but it may perhaps be illustrated by analogy of literature and music. Your [ Gelett Burgess is American] Edgar Poe did not attempt to reproduce Nature realistically. Some phase of life suggested an emotion, as that of horror in 'The Fall of the House of Ushur.”

Jean Metzinger (1883–1956) French painter

That subjective idea he translated into art. He made a composition of it.
Quote of Metzinger in 'The Wild Men of Paris', by Gelett Burgess https://monoskop.org/images/f/f3/Burgess_Gelett_1910_The_Wild_Men_of_Paris.pdf, in 'The Architectural Record, Vol XXVII, May 1910, p. 413

Gustave Moreau photo
Charlie Brooker photo
Robert E. Howard photo
Louis-ferdinand Céline photo

“You can be a virgin in horror the same as in sex.”

Source: Journey to the End of the Night (1932), Chapter 2

Jonathan Schell photo
Roger Waters photo
Josh Homme photo
Pauline Kael photo

“At the movies, we are gradually being conditioned to accept violence as a sensual pleasure. The directors used to say they were showing us its real face and how ugly it was in order to sensitize us to its horrors. You don't have to be very keen to see that they are now in fact desensitizing us. They are saying that everyone is brutal, and the heroes must be as brutal as the villains or they turn into fools. There seems to be an assumption that if you're offended by movie brutality, you are somehow playing into the hands of the people who want censorship. But this would deny those of us who don't believe in censorship the use of the only counterbalance: the freedom of the press to say that there's anything conceivably damaging in these films — the freedom to analyze their implications. If we don't use this critical freedom, we are implicitly saying that no brutality is too much for us — that only squares and people who believe in censorship are concerned with brutality. Actually, those who believe in censorship are primarily concerned with sex, and they generally worry about violence only when it's eroticized. This means that practically no one raises the issue of the possible cumulative effects of movie brutality. Yet surely, when night after night atrocities are served up to us as entertainment, it's worth some anxiety. We become clockwork oranges if we accept all this pop culture without asking what's in it. How can people go on talking about the dazzling brilliance of movies and not notice that the directors are sucking up to the thugs in the audience?”

"Stanley Strangelove" (January 1972) http://www.visual-memory.co.uk/amk/doc/0051.html, review of A Clockwork Orange
Deeper into Movies (1973)

Stendhal photo

“People who have been made to suffer by certain things cannot be reminded of them without a horror which paralyses every other pleasure, even that to be found in reading a story.”

Les contemporains qui souffrent de certaines choses ne peuvent s'en souvenir qu'avec une horreur qui paralyse tout autre plaisir, même celui de lire un conte.
Vol. I, ch. XXVII
Le Rouge et le Noir (The Red and the Black) (1830)

Andrew Ure photo
John Donne photo

“When God's hand is bent to strike, it is a fearful thing to fall into the hands of the living God; but to fall out of the hands of the living God is a horror beyond our expression, beyond our imagination.”

John Donne (1572–1631) English poet

No. 76 http://books.google.com/books?id=eypXAAAAYAAJ&q=%22When+God's+hand+is+bent+to+strike+it+is+a+fearful+thing+to+fall+into+the+hands+of+the+living+God+but+to+fall+out+of+the+hands+of+the+living+God+is+a+horror+beyond+our+expression+beyond+our+imagination%22&pg=PA386#v=onepage, preached at Sion to The Earl of Carlisle and company (c. 1622)
LXXX Sermons (1640)

Andrei Sakharov photo
Cyril Connolly photo
Olaudah Equiano photo

“Soon after this the blacks who brought me on board went off, and left me abandoned to despair. I now saw myself deprived of all chance of returning to my native country, or even the least glimpse of hope of gaining the shore, which I now considered as friendly; and I even wished for my former slavery in preference to my present situation, which was filled with horrors of every kind, still heightened by my ignorance of what I was to undergo. I was not long suffered to indulge my grief; I was soon put down under the decks, and there I received such a salutation in my nostrils as I had never experienced in my life: so that, with the loathsomeness of the stench, and crying together, I became so sick and low that I was not able to eat, nor had I the least desire to taste any thing. I now wished for the last friend, death, to relieve me; but soon, to my grief, two of the white men offered me eatables; and, on my refusing to eat, one of them held me fast by the hands, and laid me across I think the windlass, and tied my feet, while the other flogged me severely. I had never experienced any thing of this kind before; and although, not being used to the water, I naturally feared that element the first time I saw it, yet nevertheless, could I have got over the nettings, I would have jumped over the side, but I could not; and, besides, the crew used to watch us very closely who were not chained down to the decks, lest we should leap into the water: and I have seen some of these poor African prisoners most severely cut for attempting to do so, and hourly whipped for not eating. This indeed was often the case with myself.”

Olaudah Equiano (1745–1797) African abolitionist

Chap. II
The Interesting Narrative of the Life of Olaudah Equiano, or Gustavus Vassa, the African (1789)

Lord Dunsany photo
John Adams photo

“The invasion of Georgia and South Carolina is the first. But why should the invasion of these two States affect the credit of the thirteen, more than the invasion of any two others? Massachusetts and Rhode Island have been invaded by armies much more formidable. New York, Connecticut, New Jersey, Pennsylvania, Delaware, Maryland, and Virginia, have been all invaded before. But what has been the issue? Not conquest, not submission. On the contrary, all those States have learned the art of war and the habits of submission to military discipline, and have got themselves well armed, nay, clothed and furnished with a great deal of hard money by these very invasions. And what is more than all the rest, they have got over the fears and terrors that are always occasioned by a first invasion, and are a worse enemy than the English; and besides, they have had such experience of the tyranny and cruelty of the English as have made them more resolute than ever against the English government. Now, why should not the invasion of Georgia and Carolina have the same effects? It is very certain, in the opinion of the Americans themselves, that it will. Besides, the unexampled cruelty of Cornwallis has been enough to revolt even negroes; it has been such as will make the English objects of greater horror there than in any of the other States.”

John Adams (1735–1826) 2nd President of the United States

Letter to Baron Van Der Capellen (21 January 1781), Amsterdam. http://oll.libertyfund.org/titles/2105#lf1431-07_head_239
1780s

Rob Zombie photo

“In fact, gory horror movies don't rank on the [list of] movies that I like. Good horror movies are great, but I just like good movies. I don't just watch grade Z garbage. That bores me to death.”

Rob Zombie (1965) American singer

[2005-07-20, Carlo Cavagna, Interview: ROB ZOMBIE, 2008-02-01, http://www.aboutfilm.com/features/devilsrejects/zombie.htm]

Christina Rossetti photo

“Sleeping at last, the trouble and tumult over,
Sleeping at last, the struggle and horror past,
Cold and white, out of sight of friend and of lover,
Sleeping at last.”

Christina Rossetti (1830–1894) English poet

Sleeping at Last http://classiclit.about.com/library/bl-etexts/crossetti/bl-crossetti-sleep.htm, st. 1 (1893) .

Percy Bysshe Shelley photo

“It is only by softening and disguising dead flesh by culinary preparation, that it is rendered susceptible of mastication or digestion; and that the sight of its bloody juices and raw horror does not excite intolerable loathing and disgust.”

Notes
Queen Mab (1813)
Variant: It is only by softening and disguising dead flesh by culinary preparation, that it is rendered susceptible of mastication or digestion; and that the sight of its bloody juices and raw horror does not excite intolerable loathing and disgust.

Anna Akhmatova photo
Raymond Poincaré photo
David Brin photo
Henry James photo
Chris Cornell photo
William S. Burroughs photo
Susie Bright photo
R. A. Salvatore photo
John Milton photo

“Swinges the scaly horror of his folded tail.”

Hymn, stanza 18, line 172
On the Morning of Christ's Nativity (1629)

James Thomson (poet) photo

“Welcome, kindred glooms!
Congenial horrors, hail!”

Source: The Seasons (1726-1730), Winter (1726), l. 5-6.

China Miéville photo
Neil Gaiman photo
Sukarno photo
Clive Barker photo
David Cameron photo
Élisée Reclus photo
Carl Zuckmayer photo
John Steinbeck photo

“He saw himself reflected in other people's faces, and the horror and the pity he saw there had never ceased to wound him.”

Douglas Reeman (1924–2017) British author

For My Country's Freedom, Cap 5 "Indomitable"

Helen Keller photo
Camille Paglia photo
Mary Wollstonecraft Shelley photo
Daniel O'Connell photo

“Good God, what a brute man becomes when ignorant and oppressed. Oh Liberty! What horrors are committed in thy name! May every virtuous revolutionist remember the horrors of Wexford!”

Daniel O'Connell (1775–1847) Irish political leader

Written in his Journal, 2nd Jan 1799, referring to the recent 1798 Rebellion. Quoted from Vol I, p. 205, of O'Neill Daunt, W. J., Personal Recollections of the Late Daniel O'Connell, M.P., 2 Vols, London, 1848.

Karen Blixen photo
Léon Bloy photo

“It is the small flock of God. "Whoever receives in my name one of those little" said Jesus, "It is myself who receives." What thinks the one that sticks, that maims, or inflicts to their pure souls more black sorrow than death? (…) The curse of a crowd of children, is a cataclysm, a horror prodigy, a chain of dark mountains in the sky, with a cavalcade of thunder and lightning in their tops. It is the infinite of the cries of all deep, is a not know what highly powerful unforgiving and extinguishing any hope of forgiveness.”

Léon Bloy (1846–1917) French writer, poet and essayist

Léon Bloy, Octavio de Faria, portuguese edition, page 101. Léon Bloy, Octavio de Faria, portuguese edition, page 101. https://books.google.com.br/books?id=wI4SAAAAYAAJ&q=%C3%89+o+rebanho+dos+pequenos+de+Deus.+%22Quem+quer+que+receba+em+meu+nome+um+desses+pequenos%22+disse+Jesus&dq=%C3%89+o+rebanho+dos+pequenos+de+Deus.+%22Quem+quer+que+receba+em+meu+nome+um+desses+pequenos%22+disse+Jesus&hl=pt-BR&sa=X&ved=0CBsQ6AEwAGoVChMI0Ovrgrn5yAIVQpGQCh3fFwGB

Nathaniel Hawthorne photo

“While the lime-burner was struggling with the horror of these thoughts, Ethan Brand rose from the log, and flung open the door of the kiln. The action was in such accordance with the idea in Bertram's mind, that he almost expected to see the Evil One issue forth, red-hot, from the raging furnace.
Hold! hold!" cried he, with a tremulous attempt to laugh; for he was ashamed of his fears, although they overmastered him. "Don't, for mercy's sake, bring out your Devil now!"
"Man!" sternly replied Ethan Brand, "what need have I of the Devil? I have left him behind me, on my track. It is with such half-way sinners as you that he busies himself. Fear not, because I open the door. I do but act by old custom, and am going to trim your fire, like a lime-burner, as I was once."
He stirred the vast coals, thrust in more wood, and bent forward to gaze into the hollow prison-house of the fire, regardless of the fierce glow that reddened his face. The lime-burner sat watching him, and half suspected this strange guest of a purpose, if not to evoke a fiend, at least to plunge into the flames, and thus vanish from the sight of man. Ethan Brand, however, drew quietly back, and closed the door of the kiln.
"I have looked," said he, "into many a human heart that was seven times hotter with sinful passions than yonder furnace is with fire. But I found not there what I sought. No, not the Unpardonable Sin!"”

Nathaniel Hawthorne (1804–1864) American novelist and short story writer (1804 – 1879)

"Ethan Brand" (1850)

Louie Gohmert photo
T. E. Lawrence photo
Elias Canetti photo

“When I leaf through Fackel issues of my slave years, I am seized by horror. Anyone released from bondage must feel like this.”

Elias Canetti (1905–1994) Bulgarian-born Swiss and British jewish modernist novelist, playwright, memoirist, and non-fiction writer

J. Agee, trans. (1989), p. 64
Das Geheimherz der Uhr [The Secret Heart of the Clock] (1987)

George Holyoake photo
Lyndon B. Johnson photo
Walker Percy photo
Glen Cook photo
Joseph Addison photo
Shinji Mikami photo

“During the time when we were making it, my personal feeling was that Resident Evil was not a game that should be made into a series. This is because horror tends to have strong patterns that are easy to get used to, meaning they're easy to get tired of. I never thought that the game would become such a huge hit.”

Shinji Mikami (1965) Japanese video game designer

Resident Evil Creator Shinji Mikami Reflects on the Series' Roots https://www.gamespot.com/articles/resident-evil-creator-shinji-mikami-reflects-on-th/1100-6435918/ (March 22, 2016)

Václav Havel photo

“Let us admit that most of us writers feel an essential aversion to politics. By taking such a position, however, we accept the perverted principle of specialization, according to which some are paid to write about the horrors of the world and human responsibility and others to deal with those horrors and bear the human responsibility for them.”

Václav Havel (1936–2011) playwright, essayist, poet, dissident and 1st President of the Czech Republic

Address to the Prague World Congress of International PEN Club (7 November 1994) http://www.englishpen.org/writersinprison/wipcnews/peninternationaldeeplysaddenedbydeathofvclavhavelaconstantchampionforfreedomofexpression/

Anton Chekhov photo
Stig Dagerman photo
Miklós Horthy photo
Kane Hodder photo
Evelyn Waugh photo
Norman Mailer photo
Frederick Douglass photo

“When, therefore, it shall be asked what we have to do with the memory of Abraham Lincoln, or what Abraham Lincoln had to do with us, the answer is ready, full, and complete. Though he loved Caesar less than Rome, though the Union was more to him than our freedom or our future, under his wise and beneficent rule we saw ourselves gradually lifted from the depths of slavery to the heights of liberty and manhood; under his wise and beneficent rule, and by measures approved and vigorously pressed by him, we saw that the handwriting of ages, in the form of prejudice and proscription, was rapidly fading away from the face of our whole country; under his rule, and in due time, about as soon after all as the country could tolerate the strange spectacle, we saw our brave sons and brothers laying off the rags of bondage, and being clothed all over in the blue uniforms of the soldiers of the United States; under his rule we saw two hundred thousand of our dark and dusky people responding to the call of Abraham Lincoln, and with muskets on their shoulders, and eagles on their buttons, timing their high footsteps to liberty and union under the national flag; under his rule we saw the independence of the black republic of Haiti, the special object of slave-holding aversion and horror, fully recognized, and her minister, a colored gentleman, duly received here in the city of Washington; under his rule we saw the internal slave-trade, which so long disgraced the nation, abolished, and slavery abolished in the District of Columbia; under his rule we saw for the first time the law enforced against the foreign slave trade, and the first slave-trader hanged like any other pirate or murderer.”

Frederick Douglass (1818–1895) American social reformer, orator, writer and statesman

1870s, Oratory in Memory of Abraham Lincoln (1876)

Edward St. Aubyn photo
Anthony Burgess photo
Donald J. Trump photo

“What was new about Hitler and Stalin was what Friedrich Meinecke, in an attempt shortly after World War II to express his horror at Hitler’s moral nihilism, called a ‘Machiavellianism of the masses.”

François Furet (1927–1997) French historian

Source: The Passing of an Illusion, The Idea of Communism in the Twentieth Century (1999), p.191

Isaac Asimov photo

“Asimov: Science fiction always bases its future visions on changes in the levels of science and technology. And the reason for that consistency is simply that—in reality—all other changes throughout history have been irrelevant and trivial. For example, what difference did it make to the people of the ancient world that Alexander the Great conquered the Persian Empire? Obviously, that event made some difference to a lot of individuals. But if you look at humanity in general, you'll see that life went on pretty much as it had before the conquest.
On the other hand, consider the changes that were made in people's daily lives by the development of agriculture or the mariner's compass… and by the invention of gunpowder or printing. Better yet, look at recent history and ask yourself, "What difference would it have made if Hitler had won World War II?" Of course, such a victory would have made a great difference to many people. It would have resulted in much horror, anguish, and pain. I myself would probably not have survived.
But Hitler would have died eventually, and the effects of his victory would gradually have washed out and become insignificant—in terms of real change—when compared to such advances as the actual working out of nuclear power, the advent of television, or the invention of the jet plane.”

Isaac Asimov (1920–1992) American writer and professor of biochemistry at Boston University, known for his works of science fiction …

Mother Earth News interview (1980)

Henry Adams photo
Charles Stross photo
Hunter S. Thompson photo
Laurie Penny photo
Neal Stephenson photo
Theodore Roszak photo

“In a time when so many artists have learned to confabulate with extremes of horror and alienation, the most daring thing an artist can do is to fill a book, a gallery, or a theater with joy, hope, and beauty.”

Theodore Roszak (1933–2011) American social historian, social critic, writer

with Betty Roszak, "Deep Form in Art and Nature" Alexandria 4, Vol.4 The Order of Beauty and Nature (1997) ed. David Fideler