A Quote by Andrea Barrett

Adrianne Harun's dark, mysterious novel is by turns Gothic and grittily realistic, astute and poetic in its evocation of evil everywhere. — © Andrea Barrett
Adrianne Harun's dark, mysterious novel is by turns Gothic and grittily realistic, astute and poetic in its evocation of evil everywhere.
For me black is not dark, it's poetic. I don't think of gothic I think of classic - it's a big difference.
I like the dark, mysterious, maybe even gothic type girls. They have to have a good personality too! I'm very picky!
Evil is simple and empty. Evil has no mysterious depths. We stare into a dark hole and fill it with our fears, but it is only a hole.
I don't really begin with ideas about genre. I certainly wrote a gothic novel, 'The Keep,' that conformed to and, in some ways, played with every convention I knew of to work with in the gothic, but the way I came to it was very instinctive and visceral.
Deciding to write a novel about something - as opposed to finding you are writing a novel around something - sounds to me like a good evocation of writer's block.
No matter how daring or cautious you may choose to be, in the course of your life, you are bound to come into direct physical contact with what's known as Evil. I mean here not a property of the gothic novel but, to say the least, a palpable social reality that you in no way can control.
The Green Shore is an engrossing novel about political oppression, played out on an intimate family scale. Bakopoulos charts the subtle, gnawing pressures of life under the Greek junta - the steady drip of daily coercion - with an exacting empathy. In particular, her depiction of love under tyranny - by turns hesitant, furtive and liberating - is as astute as it is moving.
Poetic justice, poetic justice.. if I told you that a flower bloom in a dark room would you trust it. I mean I write poems in these songs.
Nico was gothic, but she was Mary Shelley gothic to everyone else's Hammer horror film gothic. They both did Frankenstein, but Nico's was real.
I hate the word gothic but I would like to try doing something like that. A gothic sound, not rock, but gothic. There's a difference.
Songwriting is a mysterious art. When I sit down to write a song, the end result should be mysterious and have this dark quality.
I try to write about realistic people doing realistic things. Or as close as I can get, given that I'm trying to write a suspenseful crime novel.
The tension of a mysterious danger is even more unbearable than danger itself. People hate the vacuum of an unknown situation. They want security. They even prefer war to the insecure expectation of a war with its threat of enemy surprise. This vague fearful expectation acts on their fantasies. They anticipate all kinds of mysterious dangers; they begin to provoke them. It is the evocation of fear and danger in order to escape the tension of insecurity.
Evil cannot and will not be vanquished by evil. Dark will only swallow dark and deepen. The good and the light are the keenest weapons.
I guess my favourite Disney film was 'Snow White,' which has a really dark moment when the evil queen turns into a witch and makes the poison apple. It was terrifying in the same way 'Maleficent' is.
With 'The Keep,' I began with a theory about pitting the isolated disconnection of the gothic realm against present-day hyperconnectedness. I emerged feeling that the gothic genre is all about hyperconnectedness - the possibility of disembodied communication - and that we now live in a kind of permanently gothic state.
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