Best 61 quotes in «ghost stories quotes» category

Most human beings come into the world and leave it with nothing to show they ever lived.

My traveller friends and I came home to roost about midnight and before turning into sleep had coffee in the lounge ... There was a group of Iranian refugees squatting on the floor not far from us, and I could see that one of them was eavesdropping on our conversation. Presently he came over. 'You talk ghosts,' he said, 'Please may we come and listen to your talk?

No live organism can continue for long to exist sanely under conditions of absolute reality; even larks and katydids are supposed, by some, to dream. Hill House, not sane, stood by itself against its hills, holding darkness within. Within, walls continued upright, bricks met neatly, floors were firm, and doors were sensibly shut; silence lay steadily against the wood and stone of Hill House, and whatever walked there, walked alone.

Nothing is more lethal to the effect that a ghost story should make than for the author to provide alternative materialist solution. This reduces a poem to a puzzle and confines the reader’s spirit instead of enlarging it.

Seth: "I write of love in my novels, write of it well, if my critics and fans are to be believed, but in all of my years at that typewriter, I never found the combination of words that would convey how I felt about you. You were my everything.

She stood in the snow, effervescent, all pale skin and blonde hair, clad in white and bathed in moonlight. She should have looked angelic, instead she looked like a corpse, freshly raised from the grave, frosted in ice and darkness, swaying precariously in a graveyard.

St. Augustine is not only the oldest continuously-occupied European settlement on the American continent, it is also perhaps the most haunted city in the United States. Seemingly every spot in this city has some ghostly hidden history, right below the surface. Just by strolling through the historic streets you can hear the whispers of the long-dead.

The chandelier was wearing on its rubber support and the crack at the side of the ceiling hold was getting bigger. “One day that’s going to fall on us and spear you through the heart,” he said. I turned to kiss him on the shoulder and closed my eyes.

The world of shadows and superstition that was Victorian England, so well depicted in this 1871 tale, was unique. While the foundations of so much of our present knowledge of subjects like medicine, public health, electricity, chemistry and agriculture, were being, if not laid, at least mapped out, people could still believe in the existence of devils and demons. And why not? A good ghost story is pure entertainment. It was not until well into the twentieth century that ghost stories began to have a deeper significance and to become allegorical; in fact, to lose their charm. No mental effort is required to read 'The Weird Woman', no seeking for hidden meanings; there are no complexities of plot, no allegory on the state of the world. And so it should be. At what other point in literary history could a man, standing over the body of his fiancee, say such a line as this: 'Speak, hound! Or, by heaven, this night shall witness two murders instead of one!' Those were the days. (introduction to "The Weird Woman")

To tell a ghost story means being willing to be haunted.

(Washington) Irving was only the first of the writers of the American ghostly tale to recognize that the supernatural, exactly because its epistemological status is so difficult to determine, challenged the writer to invent a commensurately sophisticated narrative technique.

We tell stories of the dead as a way of making a sense of the living. More than just simple urban legends and campfire tales, ghost stories reveal the contours of our anxieties, the nature of our collective fears and desires, the things we can’t talk about in any other way. The past we’re most afraid to speak aloud of in the bright light of day is the same past that tends to linger in the ghost stories we whisper in the dark.

Your fortune teller cursed me. Foul spirits haunt every supermarket I go to. I can't show my face in Morrisons.

Your tills are talking to me and want me to take them home. Does this often happen?

A ghost story of which the scene is laid in the twelfth or thirteenth century may succeed in being romantic or poetical: it will never put the reader into the position of saying to himself: "If I'm not careful, something of this kind may happen to me!

A piratical ghost story in thirteen ingenious but potentially disturbing rhyming couplets, originally conceived as a confection both to amuse and to entertain by Mr. Neil Gaiman, scrivener, and then doodled, elaborated upon, illustrated, and beaten soundly by Mr. Cris Grimly, etcher and illuminator, featuring two brave children, their diminutive but no less courageous gazelle, and a large number of extremely dangerous trolls, monsters, bugbears, creatures, and other such nastiness, many of which have perfectly disgusting eating habits and ought not, under any circumstances, to be encouraged.

Are you going to tell me what that was about?” Adam asked as we went back upstairs. “Sometime,” I told him. “When we're telling ghost stories around a campfire, and I want to scare you.

As a child I loved ghost stories.

As a child, I was a brat, and my parents didn't know how to control me. So they told me ghost stories, which stayed with me. I am still petrified of darkness and being alone.

Ghosts are a metaphor that can be interpreted so many different ways. There's no ending to what you can do. You can make it a fun ghost story. You can make it a deeply disturbing, psychological ghost story.

Ghost stories really scare me. I have such a big imagination that after I watch a horror movie like 'The Grudge', I look in the corners of my room for the next two days.

Ghost stories are always listened to and well received in private, but pitilessly disavowed in public. For my own part, ignorant as I am of the way in which the human spirit enters the world and the way in which he goes out of it, I dare not deny the truth of many such narratives.

Ghost stories always creep me out and weird me out. Those are always interesting to watch.

How to make a scary movie human, take a movie like Sinister. How can I make that guy so real so that the scary elements of it are more scary and it functions as a genre movie - as the way it's supposed to, you want to hear a ghost story at midnight, that's a good one - but how do you fill it up with humanity inside, in staying true to the genre? You know? Does that make sense?

I do not believe in ghosts. I believe in ghost stories.

I don't mind UFO's and ghost stories, it's just that I tend to give value to the storyteller rather than to the story itself.

I enjoyed [Celebrity Ghost Stories]. I never thought in a million years that I would tell people that I saw a ghost. And I've seen a lot of ghosts.

I have to say my favorite stories are ghost stories. I don't like to see these made-up monster films or scary films with ghosts. It doesn't do anything to me. But a real ghost story that someone tells me, that I like.

I know what I miss as a cinemagoer is that balance of films that actually scare me, they're so few and far between. I loved ghost stories, I love horror stories, I love all of that stuff, but I really yearn for something to actually frighten me.

I loved ghost stories, creaky staircases, stormy nights. If it guaranteed nightmares I read it by flashlight, after midnight.

I love really, really deep, dark-as-Russia storylines. I love supernatural aspects. I grew up with ghost stories.

I read a lot of ghost stories because I was writing a ghost story. I didn't think at all I was writing a horror or a thriller or whatever because it is about a ghost, whereas a horror film can be about aliens or things that rise out of the marsh that have no human shape.

I think that the joke and the ghost story both have a similar set up in that you kind of set something up and pay it off with a laugh or a scare.

I've been reading ghost stories ever since I could read. I'm immensely curious about ghosts and UFOs and all that stuff, but I'm a very hard-headed person.

I wanted to write a horror story. But in some ways, I have always thought of myself as a kind of ghost-story/horror writer, though most of the time the supernatural never actually appears on stage.

I was horrified of the dark. I realized that the only way I could get over that fear was by scaring other people, so I became obsessed with ghost stories, drawing monsters, watching monster movies, sneaking into horror movies, and it's just been the love of my life forever.

Most traditional ghost stories feature rather hapless protagonists, who have nasty things happen to them.

[Robert] Aikman would write horror stories that weren't gore, they weren't slashers, and they weren't monster stories either. He called them ghost stories. The main thing about them was the vibe. It was really disquieting. He wanted to sketch the scene so that you could see it and know the characters and get a feel for the motion - and then ask yourself why and not get a final answer. Leave something that itches. I loved that!

The ghost story movie that scared me the most was The Changeling with George C. Scott. I think that's sometimes overlooked, but it's a wonderful piece of work.

The idea of Ghost Stories is how to turn something bad into something that gives you an uplift.

There are certain types of genres that are impossible in China. Ghost stories, something too graphic, too violent, and of course if it's too political. Other than that, it will be fine.

There are some ghost stories in Japan where - when you are sitting in the bathroom in the traditional style of the Japanese toilet - a hand is actually starting to grab you from beneath. It's a very scary story.

There is probably a smell of roasted chestnuts and other good comfortable things all the time, for we are telling Winter Stories - Ghost Stories, or more shame for us - round the Christmas fire; and we have never stirred, except to draw a little nearer to it.

This is a story about a family and, as there is a ghost involved, you might cal it a ghost story. But every family is a ghost story. The dead sit at out tables long after they have gone.

While Max appears to greatly admire Wallace as a writer and feel compassion for him as a man, he is never starry-eyed, or pulls his punches. Every Love Story is a Ghost Story is as illuminating, multifaceted, and serious an estimation of David Foster Wallace's life and work as we can hope to find.

You and me are going to have so much fun, Rose. Picking out curtains, doing each other's hair, telling ghost stories.

Abandoned houses seldom turn out to be as empty as they appear. Voices fade, but echoes linger, intimately, sinking from room to room. And sometimes figures emerge from those shadows, if only in dreams. What could be more profoundly idiosyncratic than our nightmares? Always, there has been something personal about ghost stories. How surprising is it that so many concern writers in torment?

After breakfast the host takes the young man into a corner, and explains to him that what he saw was the ghost of a lady who had been murdered in that very bed, or who had murdered somebody else there - it does not really matter which: you can be a ghost by murdering somebody else or by being murdered yourself, whichever you prefer. The murdered ghost is, perhaps, the more popular; but, on the other hand, you can frighten people better if you are the murdered one, because then you can show your wounds and do groans. ("Introduction" to TOLD AFTER SUPPER)

After her declaration to become a ghost, her sister had given a nervous half-laugh and said that she didn't want Adelaide to do anything to scare her. Adelaide had agreed, but said she'd move things around her home just to confuse her. And laughed too. Her husband, Simon, had told her not to be morbid and reminded her that the consultant wasn't sure. It was possible she might live.

Answers are almost always insufficient. They are almost always misleading.