1
" One grave in every graveyard belongs to the ghouls. Wander any graveyard long enough and you will find it - water stained and bulging, with cracked or broken stone, scraggly grass or rank weeds about it, and a feeling, when you reach it, of abandonment. It may be colder than the other gravestones, too, and the name on the stone is all too often impossible to read. If there is a statue on the grave it will be headless or so scabbed with fungus and lichens as to look like fungus itself. If one grave in a graveyard looks like a target for petty vandals, that is the ghoul-gate. If the grave wants to make you be somewhere else, that is the ghoul-gate. "
― Neil Gaiman , The Graveyard Book
11
" Apart from such chaotic classics as these, my own taste in novel reading is one which I am prepared in a rather especial manner, not only to declare, but to defend. My taste is for the sensational novel, the detective story, the story about death, robbery and secret societies; a taste which I share in common with the bulk at least of the male population of this world. There was a time in my own melodramatic boyhood when I became quite fastidious in this respect. I would look at the first chapter of any new novel as a final test of its merits. If there was a murdered man under the sofa in the first chapter, I read the story. If there was no murdered man under the sofa in the first chapter, I dismissed the story as tea-table twaddle, which it often really was. But we all lose a little of that fine edge of austerity and idealism which sharpened our spiritual standard in our youth. I have come to compromise with the tea-table and to be less insistent about the sofa. As long as a corpse or two turns up in the second, the third, nay even the fourth or fifth chapter, I make allowance for human weakness, and I ask no more. But a novel without any death in it is still to me a novel without any life in it. I admit that the very best of the tea-table novels are great art - for instance, Emma or Northanger Abbey. Sheer elemental genius can make a work of art out of anything. Michelangelo might make a statue out of mud, and Jane Austen could make a novel out of tea - that much more contemptible substance. But on the whole I think that a tale about one man killing another man is more likely to have something in it than a tale in which, all the characters are talking trivialities without any of that instant and silent presence of death which is one of the strong spiritual bonds of all mankind. I still prefer the novel in which one person does another person to death to the novel in which all the persons are feebly (and vainly) trying to get the others to come to life. "
― G.K. Chesterton ,
20
" God, who is omnipotent, could have softened Pharaoh’s heart, but he hardens it instead, which gives him a reason to afflict every Egyptian with painful boils and other miseries before killing every one of their firstborn sons. (The word Passover alludes to the executioner angel’s passing over the households with Israelite firstborns.) God follows this massacre with another one when he drowns the Egyptian army as they pursue the Israelites across the Red Sea. The Israelites assemble at Mount Sinai and hear the Ten Commandments, the great moral code that outlaws engraved images and the coveting of livestock but gives a pass to slavery, rape, torture, mutilation, and genocide of neighboring tribes. The Israelites become impatient while waiting for Moses to return with an expanded set of laws, which will prescribe the death penalty for blasphemy, homosexuality, adultery, talking back to parents, and working on the Sabbath. To pass the time, they worship a statue of a calf, for which the punishment turns out to be, you guessed it, death. Following orders from God, Moses and his brother Aaron kill three thousand of their companions. "
― Steven Pinker , The Better Angels of Our Nature: Why Violence Has Declined