Frasi di Clive Barker (104 frasi, pagina 3)

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Clive Barker frasi celebri

“Siamo tutti libri di sangue; | in qualunque punto ci aprano, | siamo rossi.”

Clive Barker libro Ectoplasm

da Infernalia, traduzione di Tullio Dobner, Sonzogno, 2000
Origine: Epigrafe dell'opera citata e di tutti i successivi libri della serie Books of Blood: Ectoplasm, Sudario, Creature, Visions e Monsters.

“Le stagioni si agognano l’un l’altra, come uomini e donne, in modo da essere guarite dai loro eccessi. La primavera, se si protrae per più di una settimana oltre il suo tempo naturale, comincia a patire l’assenza dell’estate che ponga fine ai giorni della promessa perpetua. L’estate dal suo canto comincia ben presto a invocare qualcosa che plachi la sua calura e il più ubere degli autunni alla lunga si stanca della sua generosità e reclama una rapida, aspra gelata che lo sterilizzi. Persino l’inverno, la più dura delle stagioni, la più implacabile, sogna all’apparire di febbraio la fiamma che presto lo scioglierà. Ogni cosa si stanca con il tempo e comincia a cercare un suo contrario che la salvi da se stessa. Così agosto cedette il posto a settembre e pochi se ne lamentarono.”

Clive Barker libro Schiavi dell'inferno

The Hellbound Heart

“Gli parve che l'unica soluzione potesse essere la follia, nessuna speranza se non la perdita della speranza.”

Clive Barker libro Schiavi dell'inferno

The Hellbound Heart

Clive Barker: Frasi in inglese

“Always, worlds within worlds.”

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Clive Barker libro Weaveworld

Origine: Weaveworld

“True joy is a profound remembering; and true grief the same.”

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Clive Barker

Part Five “Revels”, Chapter i “Cal, Among Miracles” (p. 199)
(1987), BOOK TWO: THE FUGUE

“As to the remnants of his army—those Seerkind who’d embraced the Prophet’s visions—they’d been the authors of their own punishment, waking from their evangelical nightmare to find it had destroyed all they held dear.”

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Clive Barker

Part Eleven “The Dream Season”, Chapter ii “Representations”, Section 2 (p. 479)
(1987), BOOK THREE: OUT OF THE EMPTY QUARTER

“Nothing ever begins.
There is no first moment; no single word or place from which this or any other story springs.
The threads can always be traced back to some earlier tale, and to the tales that preceded that: though as the narrator’s voice recedes the connections will seem to grow more tenuous, for each age will want the tale told as if it were of its own making.
Thus the pagan will be sanctified, the tragic become laughable; great lovers will stoop to sentiment, and demons dwindle to clockwork toys.
Nothing is fixed. In and out the shuttle goes, fact and fiction, mind and matter woven into patterns that may have only this in common: that hidden amongst them is a filigree which will with time become a world.
It must be arbitrary then, the place at which we chose to embark.
Somewhere between a past half forgotten and a future as yet only glimpsed.”

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Clive Barker

Part One “Wild Blue Yonder”, Chapter i “Homing”, Section 1 (p. 19; opening words)
(1987), BOOK ONE: IN THE KINGDOM OF THE CUCKOO

“He would be vigilant, but he would anticipate nothing, neither disaster nor revelation.
That was not to say he would give up looking to the future. True, he was just a Cuckoo: scared and weary and alone. But so, in the end were most of his tribe: it didn’t mean all was lost. As long as they could still be moved by a minor chord, or brought to a crisis of tears by scenes of lovers reunited; as long as there was room in their cautious hearts for games of chance, and laughter in the face of God, that must surely be enough to save them, at the last.
If not, there was no hope for any living thing.”

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Clive Barker libro Weaveworld

Part Nine “Into the Gyre”, Chapter v “A Fragile Peace”, Section 3 (p. 440)
Weaveworld (1987), BOOK TWO: THE FUGUE

“By and large, horror fiction is the most difficult to domesticate because part of the point is that it's one step ahead – or behind – everybody else's taste. And I'm not really convinced I'd like it to change. There's something very healthy about horror fiction being always a little bit on the outside. It's the wild-dog genre.”

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Clive Barker

The Advocate (Feb. 21, 1995)

“…Take this all of you and eat it. This is my body which will be given up for you…
Old words; old rituals. But they still made sound commercial sense.
Talk of Power and Might would always attract an audience. Lords never went out of fashion.”

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Clive Barker libro Weaveworld

Part Six “Back Among the Blind Men”, Chapter v “Our Lady of the Bones”, Section 2 (p. 273)
Weaveworld (1987), BOOK TWO: THE FUGUE

“Of course, there was Hobart. The Inspector was probably insane, but that was all to the good. And he had one particular aspiration which Shadwell knew he might one day need to turn to his own ends. That was, to lead—as Hobart put it—a righteous crusade.”

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Clive Barker

Part Six “Back Among the Blind Men”, Chapter v “Our Lady of the Bones”, Section 1 (p. 272)
(1987), BOOK TWO: THE FUGUE

““Are you coming?” he said.
“In a moment.”
“It’s now or never.”
Maybe it would be never, then. She was so transfixed by the formidable power being unleashed in front of her, she couldn’t avert her astonished gaze. It fascinated her that strength of this magnitude should be turned to the sordid business of atrocity; something was wrong with a reality that made that possible, and offered no cure for it, nor hope of cure.”

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Clive Barker

Part Thirteen “Magic Night”, Chapter iv “Symmetry”, Section 2 (p. 569)
(1987), BOOK THREE: OUT OF THE EMPTY QUARTER

“It was absurd and frustrating, to feel so much and know so little.”

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Clive Barker

Part Seven “The Demagogue”, Chapter vi “Hello, Stranger”, Section 2 (p. 306)
(1987), BOOK TWO: THE FUGUE

“The paintings of Francis Bacon to my eye are very beautiful. The paintings of Bosch or Goya are to my eye very beautiful. I've also stood in front of those same paintings with people who've said, "let's get on to the Botticellis as soon as possible."”

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Clive Barker

I have lingered, of course.
American Heroes #174

“What the enemy believed of you was probably true, or else why were you enemies in the first place?”

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Clive Barker

Part Eight “The Return”, Chapter v “Nonesuch”, Section 2 (p. 353)
(1987), BOOK TWO: THE FUGUE

“Memory, prophecy and fantasy
the past, the future and
the dreaming moment between
are all one country,
living one immortal day.

To know that is Wisdom.

To use it is the Art.”

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Clive Barker libro The Great and Secret Show

The Great and Secret Show

“The monsters act out our rage. They act on their worst impulses, which is appealing to a certain part of us. They get punished for it, but we've enjoyed the spectacle of their liberation.”

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Clive Barker

The Advocate (Feb. 21, 1995)

“Among their members were some of the wealthiest individuals in the world; between them, fortunes sufficient to trade in nations. None of the seven had a name that would have meant anything to the hoi polloi—they were, like the truly mighty, anonymously great.”

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Clive Barker

Part Three “The Exiles”, Chapter ix “On the Might of Princes” (pp. 156-157)
(1987), BOOK ONE: IN THE KINGDOM OF THE CUCKOO

“One of the reasons why I don't get on with most fantasy writing - enchanted sword fantasy writing - is because I think it's emotionally untrue. People behave in very simple ways, unparadoxical ways. What I'm trying to do is bring into fantasy - as I hope I've been able to bring to horror - a certain kind of emotional realism. People have mentioned sex as being a major part of my fiction. An awful lot of horror fiction simply never contained that kind of material. Which seems to me to be extraordinary because most horror fiction is about the body in some way or other, and therefore it should be about sensuality and eroticism every bit as much as it's about corruption.”

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Clive Barker

Writer's Digest, March 1991

“Writing a book is like masturbation, and making a movie is like an orgy.”

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Clive Barker

Gigaplex's interview, 1995

“So he believes. The truth may be more…complex.”

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Clive Barker libro Weaveworld

Part Eleven “The Dream Season”, Chapter iv “The Shrine of the Mortalities”, Section 3 (p. 494)
Weaveworld (1987), BOOK THREE: OUT OF THE EMPTY QUARTER