Dead Space 1 Quotes

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Dead Space 1 Quotes

A sickened, sensitive shadow writhing in hands that are not hands, and whirled blindly past ghastly midnights of rotting creation, corpses of dead worlds with sores that were cities, charnel winds that brush the pallid stars and make them flicker low. Beyond the worlds vague ghosts of monstrous things; half-seen columns of unsanctified temples that rest on nameless rocks beneath space and reach up to dizzy vacua above the spheres of light and darkness. And through this revolting graveyard of the universe the muffled, maddening beating of drums, and thin, monotonous whine of blasphemous flutes from inconceivable, unlighted chambers beyond Time; the detestable pounding and piping whereunto dance slowly, awkwardly, and absurdly the gigantic, tenebrous ultimate gods—the blind, voiceless, mindless gargoyles whose soul is Nyarlathotep.
— H.P. Lovecraft —

No season lives here. This space has quite successfully shut out any such interference. The cunning designer saw to it that there is not even a mirror in which the reader might contemplate his own appearance or anxiously search for the marks of age. The climate is grammatical. Nothing here but books, as if I were swaddled in them, as if the porous walls of books were by now almost a second skin. Or as if they provided a padding like the walls of madhouses, a cushion constructed of the language of the dead.

— Geoffrey O'Brien

Tragedy's language stresses that whatever is within us is obscure, many faceted, impossible to see. Performance gave this question of what is within a physical force. The spectators were far away from the performers, on that hill above the theatre. At the centre of their vision was a small hut, into which they could not see. The physical action presented to their attention was violent but mostly unseen. They inferred it, as they inferred inner movement, from words spoken by figures whose entrances and exits into and out of the visible space patterned the play. They saw its results when that facade opened to reveal a dead body. This genre, with its dialectics of seen and unseen, inside and outside, exit and entrance, was a simultaneously internal and external, intellectual and somatic expression of contemporary questions about the inward sources of harm, knowledge, power, and darkness.

— Ruth Padel

Written works do not produce fast reactions as pictures and sculptures and music do. it takes no effort to see or hear. but to read - to grasp what the writer has done - requires commitment. engagement. as is the case with most art, the relationship between the maker and the audience is remote in time and space. the writer is nowhere to be seen when the reader takes up the book, or even dead. but most often, books go unread ... thus the writer, knowing this as writers do, is even more alone ... yet writers write. and knowing what they know makes their isolation almost a sacrament.

— Anneli Rufus

It was a wonderful thing to think for how many thousands of years the dead orb above and the dead city below had gazed thus upon each other, and in the utter solitude of space poured forth each to each the tale of their lost life and long-departed glory. The white light fell, and minute by minute the quiet shadows crept across the grass-grown courts like the spirits of old priests haunting the habitations of their worship
the white light fell, and the long shadows grew till the beauty and grandeur of each scene and the untamed majesty of its present Death seemed to sink into our very souls, and speak more loudly than the shouts of armies concerning the pomp and splendour that the grave had swallowed, and even memory had forgotten.

— H. Rider Haggard

I want to be oblivious to the hurt written on her face. I want to be selfish and young and normal. M would be that way. She would need space to grieve. She would rebel because her parents were simply uncool, not because one was wearing a horrifying happy mask and the other was a living ghost. She'd be distant because she was preoccupied with boys or school, not because she's tired from hunting down the Histories of the dead, or distracted by her new hotel-turned-apartment, where the walls are filled with crimes.

— Victoria Schwab

If you fell outward to the limit of the universe, would you find a board fence and signs reading DEAD END? No. You might find something hard and rounded, as the chick must see the egg from the inside. And if you should peck through that shell (or find a door), what great and torrential light might shine through your opening at the end of space? Might you look through and discover our entire universe is but part of one atom on a blade of grass? Might you be forced to think that by burning a twig you incinerate an eternity of eternities? That existence rises not to one infinite but to an infinity of them?

— Stephen King

When I was little, I didn't smile much. Don't get me wrong. I was a happy kid, but I couldn't stand the space, dead center, in between my teeth. Yeah, I could whistle through it, but so what? That didn't win me many points on the playground in Medfield, Massachusetts.

— Uzo Aduba

Descartes, in his Third Meditation, said that God re-created the body at each successive moment. So that time was a form of sustenance. On earth time was marked by the sun and moon, by rotations that distinguished day from night, that had led to clocks and calendars. The present was a speck that kept blinking, brightening and diminishing, something neither alive nor dead. How long did it last? One second? Less? It was always in flux; in the time it took to consider it, it slipped away. In one of her notebooks from Calcutta were jottings in Udayan's hand, on the laws of classical physics. Newton's theory that time was an absolute entity, a stream flowing at a uniform rate of its own accord. Einstein's contribution, that time and space were intertwined. He'd described it in terms of particles, velocities. A system of relations among instantaneous events. Something called time

— Jhumpa Lahiri

A sickened, sensitive shadow writhing in hands that are not hands, and whirled blindly past ghastly midnights of rotting creation, corpses of dead worlds with sores that were cities, charnel winds that brush the pallid stars and make them flicker low. Beyond the worlds vague ghosts of monstrous things; half-seen columns of unsanctified temples that rest on nameless rocks beneath space and reach up to dizzy vacua above the spheres of light and darkness. And through this revolting graveyard of the universe the muffled, maddening beating of drums, and thin, monotonous whine of blasphemous flutes from inconceivable, unlighted chambers beyond Time; the detestable pounding and piping whereunto dance slowly, awkwardly, and absurdly the gigantic, tenebrous ultimate gods-the blind, voiceless, mindless gargoyles whose soul is Nyarlathotep.

— H.P. Lovecraft

In the ordinary, everyday understandings of the words involved, to say that someone survived death is to contradict yourself; while to assert that all of us live forever is to assert a manifest falsehood, the flat contrary of a universally known truth: namely, the truth that all human beings are mortal. For when, after some disaster, the 'dead' and the 'survivors' have both been listed, what logical space remains for a third category?

— Antony Flew

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