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1 " And Harry remembered his first nightmarish trip into the forest, the first time he had ever encountered the thing that was then Voldemort, and how he had faced him, and how he and Dumbledore had discussed fighting a losing battle not long thereafter. It was important, Dumbledore said, to fight, and fight again, and keep fighting, for only then could evil be kept at bay, though never quite eradicated. . . .And Harry saw very clearly as he sat there under the hot sun how people who cared about him had stood in front of him one by one, his mother, his father, his godfather, and finally Dumbledore, all determined to protect him; but now that was over. He could not let anybody else stand between him and Voldemort; he must abandon forever the illusion he ought to have lost at the age of one, that theshelter of a parent’s arms meant that nothing could hurt him. There was no waking from his nightmare, no comforting whisper in the dark that he was safe really, that it was all in his imagination; the last and greatest of his protectors had died, and he was more alone than he had ever been before. "
― J.K. Rowling , Harry Potter and the Half-Blood Prince (Harry Potter, #6)
2 " When he was in college, a famous poet made a useful distinction for him. He had drunk enough in the poet's company to be compelled to describe to him a poem he was thinking of. It would be a monologue of sorts, the self-contemplation of a student on a summer afternoon who is reading Euphues. The poem itself would be a subtle series of euphuisms, translating the heat, the day, the student's concerns, into symmetrical posies; translating even his contempt and boredom with that famously foolish book into a euphuism.The poet nodded his big head in a sympathetic, rhythmic way as this was explained to him, then told him that there are two kinds of poems. There is the kind you write; there is the kind you talk about in bars. Both kinds have value and both are poems; but it's fatal to confuse them.In the Seventh Saint, many years later, it had struck him that the difference between himself and Shakespeare wasn't talent - not especially - but nerve. The capacity not to be frightened by his largest and most potent conceptions, to simply (simply!) sit down and execute them. The dreadful lassitude he felt when something really large and multifarious came suddenly clear to him, something Lear-sized yet sonnet-precise. If only they didn't rush on him whole, all at once, massive and perfect, leaving him frightened and nerveless at the prospect of articulating them word by scene by page. He would try to believe they were of the kind told in bars, not the kind to be written, though there was no way to be sure of this except to attempt the writing; he would raise a finger (the novelist in the bar mirror raising the obverse finger) and push forward his change. Wailing like a neglected ghost, the vast notion would beat its wings into the void.Sometimes it would pursue him for days and years as he fled desperately. Sometimes he would turn to face it, and do battle. Once, twice, he had been victorious, objectively at least. Out of an immense concatenation of feeling, thought, word, transcendent meaning had come his first novel, a slim, pageant of a book, tombstone for his slain conception. A publisher had taken it, gingerly; had slipped it quietly into the deep pool of spring releases, where it sank without a ripple, and where he supposes it lies still, its calm Bodoni gone long since green. A second, just as slim but more lurid, nightmarish even, about imaginary murders in an imaginary exotic locale, had been sold for a movie, though the movie had never been made. He felt guilt for the producer's failure (which perhaps the producer didn't feel), having known the book could not be filmed; he had made a large sum, enough to finance years of this kind of thing, on a book whose first printing was largely returned. "
3 " She was a mimicry of a facade fashioned from the half-truths of her life. She was a beautiful abomination, patched together from the most pristine and terrible parts she could find. She was a black crystal of many cuts and facets whose dark glow suffocated and entranced those it washed over. There was a pointlessness in her eyes and apathy in her stature, and further in, past the symphonies of nightmarish screams was a blinding light. All the capability she could ever ask for kept in a place she would never reach. She chose the ice rather than the fire, shivering and hard with heat sparse, for while a flicker can exist in freeze's cold, it's heat will not radiate, no matter how bold. She took my face in hands that would make ice seem warm and whispered a blizzard into my ear, a cascading song of fear after fear. The lies she spilled, mixed with regrets and appeal, were cloaked in the inferno of her rage, the anger, the only thing that really made her real. This was her one semblance of life, a bottomless and endless void of proportions vast with a calamity of fusion and fission streaking through, a mindless hue, an emotion with a face, a darling of her race. The cracks spew darkness from within her ever so pale skin. They congregated on her curves and flesh in black and churning rivers and streams. They flooded every dip with blackness. They filled every hollow with unstable curiosity, this is her release, this is when she is free. The faces of deceit always laugh, they never wallow for their lies are a pleasure tool, her insides are contorted in laughter the same way, just as slick, just as cruel. A crude combination of fascination, of animation, of the darkest demons of them all. She was poetry written in pen, scratched and scribbled again and again. Ink splattered across the page, and within those scrawled words, those small, sharp incisions, an image can be seen, and you're left to wonder what, in the end, this all could mean... "
4 " Look into the eyes of a chicken and you will see real stupidity. It is a kind of bottomless stupidity, a fiendish stupidity. They are the most horrifying, cannibalistic and nightmarish creatures in the world. "
― Werner Herzog
5 " But if someone had slowed him down, just slightly interrupted his course, maybe he could have gotten through that one nightmarish moment; maybe he would never get that close to it again. "
― Frederick Barthelme , Elroy Nights
6 " Woolrich had a genius for creating types of story perfectly consonant with his world: the noir cop story, the clock race story, the waking nightmare, the oscillation thriller, the headlong through the night story, the annihilation story, the last hours story. These situations, and variations on them, and others like them, are paradigms of our position in the world as Woolrich sees it. His mastery of suspense, his genius (like that of his spiritual brother Alfred Hitchcock) for keeping us on the edge of our seats and gasping with fright, stems not only from the nightmarish situations he conjured up but from his prose, which is compulsively readable, cinematically vivid, high-strung almost to the point of hysteria, forcing us into the skins of the hunted and doomed where we live their agonies and die with them a thousand small deaths. "
― Cornell Woolrich , Night and Fear: A Centenary Collection of Stories
7 " At the last parent visitation night I'd sorta accidentally watched a majorly nightmarish scene between Aphrodite and her parents. Her dad's the mayor of Tulsa. Her mom might be Satan. "
― P.C. Cast , Chosen (House of Night, #3)
8 " Sam was staring at Claire with about the same amazement as his brother had shown. Claire didn’t seem to realize it, or else she was too preoccupied to think of it, but she was the second thunderbolt that had fallen on this long-hidebound household in as many days. First one of the hated race of doctors had been shoehorned in on them as the only thing that might get them out of an already nightmarish situation, and now this matter-of-fact slip of a girl had pushed into it of her own accord. They must have felt like the world was coming down around their ears. "
― Elisabeth Grace Foley , Left-Hand Kelly
9 " But suspense presupposes uncertainty. No matter how nightmarish the situation, real suspense is impossible when we know in advance that the protagonist will prevail (as we would if Woolrich had used series characters) or will be destroyed. This is why, despite his congenital pessimism, Woolrich manages any number of times to squeeze out an upbeat resolution. Precisely because we can never know whether a particular novel or story will be light or dark, allegre or noir, his work remains hauntingly suspenseful.(" Introduction" ) "
10 " Sometimes Geraldine feels like she can drive forever. Maybe that’s partially why she took a job at Milo General Motors. Driving is the best means of escape that the human race has, at least, that’s her opinion. She’s never had the guts to try drugs before, both because her sister was a junkie in the last few months she knew her, and because she’s heard the overdose horror stories, seen 'Requiem for a Dream', smelled the vapours of a meth lab that Julia’s boyfriend built, heard the crunching glass of crack vials and heroine needles when they happen to break. Even this alone is too surreal, not to mention that if she were high or tripping on acid or whatever the drug of choice may be, this would give the ghosts more power to morph into something even more nightmarish than they already are. "
11 " As the red-haired female watched, it was obvious she could not process what was happening. It was as though she had never seen anything magical; her fear had her locked in place, unable to move. In her reality, humans didn’t “feed” off of other humans, but the Sluagh were not human. They were demons and ghosts that haunt and invade. They were your darkest fears. The nightmarish creatures were a part of folklore passed down from generation to generation. The Sluagh were in essence rejected by heaven and hell, existing in the human realm only to consume souls. Humans were blinded by the magic that existed in the world. They assumed fairytales were just someone’s wild imagination, creative tales told to delight and frighten children. It was this lack of acknowledgement that made humans the perfect prey for these outcasts. "
― Brynn Myers , Entasy (Prophecies of The Nine, #1)
12 " There are circumstances which can only be created and remedied in a crucible of fury, fire, and destruction like the serotinous cones of the Jack Pine and Lodgepole Pine trees. Only after exposed to extreme heat and enormous pressures will the cone open to begin anew and flourish amongst the cleansed but desolate landscape. Also, like the unpredictable restrained power of a dormant volcano storing it's potential energy over long periods of time gives way to this planets most enchanting display of scenic beauty to stark nightmarish backdrops. Egos are like wildfires to me because they start small but uncontrolled they will get out-of-hand and devour without prejudice. However, egotistical people are part of life and the best defense is a good offense with fire breaks dug in advance anticipation and left in place for when the right conditions present themselves where you must decide to fight that fire or be consumed by it. "
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13 " People forget I go to work. They forget that the Coleridge house was bought and paid for by the daughter of a travel agent and a barmaid from what the actor Richard Burton once described as the nightmarish 'featureless suburb' of Croydon. "
