Shadwell threw down his gun, and—though he had no taste for abattoirs—forced himself to survey the carnage before him. It was, he knew, the responsibility of one aspiring to godhood never to look away. Willful ignorance was the last refuge of humanity, and that was a condition he would soon have transcended.
And, when he studied the scene, it wasn’t so unbearable. He could look at the tumble of corpses and see them for the empty sacks they were.
English author, film director, and visual artist (born 1952)
Clive Barker (born 5 October 1952) is an English playwright, author, film director, and visual artist. His novels include The Great and Secret Show, Weaveworld, and Imajica. His films include Hellraiser, Nightbreed, and Lord of Illusions.
From: Wikiquote (CC BY-SA 4.0)
Shadwell?" said Suzanna.
"Their beloved Prophet," came the reply. "Beneath that show of holiness I lent him there beats a salesman's heart."
So Shadwell was the Prophet. What a perfect irony, that the seller of encyclopedias should end up peddling hope.
"It was his idea," said the Incantatrix, "to give them a Messiah. Now they've got a righteous crusade, as Hobart calls it. They're going to claim their promised land. And destroy it in the process."
"They won't fall for this."
"They already have, sister. Holy wars are easier to start than rumors among your Kind or mine. They believe every sacred word he tells them, as though their lives depended upon it. Which in a sense they do. They've been conspired against and cheated—and they're ready to tear the Fugue apart to get their hands on those responsible. Isn't that perfect? The Fugue'll die at the very hands of those who've come to save it."
"And that's what Shadwell wants?"
"He's a man: he wants adoration."She gazed over Suzanna's shoulder toward the unweaving, and the Salesman, still in its midst. "And that's what he's got. So he's happy.
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And us?" said the Hag. "What happens to us then? Will we be free?
That's what we agreed."
"We can go into extinction?"
"If that's what you want."
"More than anything," said the Hag. "More than anything."
"There are worse things than existence," said Immacolata.
"Oh?" the Hag replied. "Can you name one?"
Immacolata thought for a short while.
"No," she conceded, with a soft sigh of distress. "You may be right, sister.
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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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