ellauri097.html on line 802: Robert Frost, often regarded as a folksy farmer-poet, was also a more profound, even terrifying, creator. His poem "The Road Not Taken" reveals his delight in multiple meanings, his ambivalence, and his penchant for misleading his readers. He denied that the poem proclaimed his striving for the unconventional and asserted that it was meant to tease his friend Edward Thomas for his compulsive indecisiveness. This essay also notes the unconscious meanings of the poem, including Frost's reactions to losing his close friend, his own indecisiveness, his conflict between heterosexual and homosexual object choices, his need for a "secret sharer," and his attachments. J Glenn. Psychoanal Study Child. 2001.
ellauri118.html on line 956: "She was so astonishing in her audition," Miller said. "She made me feel sorry for Serena Joy, which is seemingly an impossible task. I felt bad for her. She was so wonderful and terrifying. And she's quite tall, so that works really well with Lizzie who is more small. Serena Joy wears heels and Lizzie doesn't. To have this towering viking standing over her ... she's physically intimidating." Yvonne is a whip-strong woman. Lizzie [Elizabeth Moss] is also quite strong but on the pudgy side. The two of them together, you feel like, 'I'd love to see them go toe-to-toe in a cage match.'" A mud fight with nothing on, now that would be the thing. Maybe in the next season, stay tuned.
ellauri133.html on line 370: The Three Billy Goats Gruff, a classic Norwegian fairy tale about three scrappy goats outsmarting a bridge troll, might sound like a far cry from a 1000-plus page horror novel, but Stephen King cites it as a primary inspiration. He expanded the bridge to encompass an entire city, and the troll morphed into the terrifying demonic entity known as IT.
ellauri164.html on line 597: Honoring God in leadership—as all Christian leaders in every sphere must attempt to do—is a terrifying responsibility. Whether we lead a business, a classroom, a relief organization, a household, or any other organization, we must be careful not to mistake our authority for God’s. What can we do to keep ourselves in obedience to God? Meeting regularly with an accountability (or “peer”) group, praying daily about the tasks of leadership, keeping a weekly Sabbath to rest in God’s presence, and seeking others’ perspective on God’s guidance are methods some lead­ers employ. Even so, the task of leading firmly while remaining wholly dependent on God is beyond human capability. If the most humble man on the face of the earth (Num. 12:3) could fail in this way, so can we. By God’s grace, even failures as great as Moses’ at Meribah, with disastrous consequences in this life, do not separate us from the ultimate fulfillment of God’s promises. Moses did not enter the Promised Land, yet the New Testament declares him “faithful in all God’s house” and reminds us of the confidence that all in God’s house have in the fulfillment of our redemption in Christ (Heb. 3:2-6).
ellauri203.html on line 449: complex--would unroll before him in its terrifying sameness. The same
ellauri245.html on line 313: One year ago, a heavily armed man dressed as a police officer appeared on the beach of a youth summer camp in Norway. The kids had no way of knowing he was targeting them for the ills of Europe. Then he started shooting. And shooting. Where were the real cops? By the end of the day, seventy-seven people had been killed, the deadliest attack in that country since World War II. As told by the survivors, these are the beat-by-beat horrors of those terrifying 198 minutes. the Utoya Massacre On July 22, 2011. Lue ja kauhistu, tää on hurja jännäri!
ellauri270.html on line 304: For Jackson, The Lottery is more than a ghost story; “The Daemon Lover” in particular and the collection in general critique a society that fails to protect women from becoming victims of strangers or neighbors. As in “The Lottery,” Jackson’s shocking account of a housewife’s ritualistic stoning, or in “The Pillar of Salt,” which traces a wife’s horror and growing hysteria when she has lost her way, the threatened characters are women. Although many of Jackson’s stories are modern versions of the folk tale of a young wife’s abduction by the devil, and although her characters are involved in terrifying circumstances, the point is that these tales seem true: They are rooted in reality. Thus, Jackson exposes the threat to women’s lives in a society that condones the daemon lover.
xxx/ellauri122.html on line 791: Written in 1914 and published in 1925, a year after Kafka's death, 'The Trial' tells the terrifying tale of Josef K., a bank officer who is arrested and finds himself having to defend charges that he struggles to get information on.
xxx/ellauri261.html on line 662: I am here to prevent anyone saying the really foolish thing that people often say about Him: 'I'm ready to accept Jesus as a great moral teacher, but I don't accept his claim to be God.' That is the one thing we must not say. A man who was merely a man and said the sort of things Jesus said would not be a great moral teacher. He would either be a lunatic—on the level with the man who says he is a poached egg—or else he would be the Devil of Hell. You must make your choice. Either this man was, and is, the Son of God, or else a madman or something worse. You can shut him up for a fool, you can spit at him and kill him as a demon or you can fall at his feet and call him Lord and God, but let us not come with any patronising nonsense about his being a great human teacher. He has not left that open to us. He did not intend to. ... Now it seems to me obvious that He was neither a lunatic nor a fiend: and consequently, however strange or terrifying or unlikely it may seem, I have to accept the view that He was and is God.
xxx/ellauri379.html on line 123: One of the most resoundingly Modernist elements of Conrad’s work lies in this kind of early post-structuralist treatment of language—his insistence on the inherent inability of words to express the real, in all of its horrific truth. Marlow’s journey is full of encounters with things that are “unspeakable,” with words that are uninterpretable, and with a world that is eminently “inscrutable.” In this way, language fails time and time again to do what it is meant to do—to communicate. It’s a phenomenon best summed up when Marlow tells his audience that “it is impossible to convey the life-sensation of any given epoch of one’s existence—that which makes its truth, its meaning—its subtle and penetrating essence… We live, as we dream—alone.” Kurtz—as “eloquent” as he may be—can’t even adequately communicate the terrifying darkness he observed around him.“The horror! The horror!” is all he can say. Some critics have surmised that part of Heart of Darkness’s mass appeal comes from this ambiguity of language—from the free rein it gives its readers to interpret. Others posit this as a great weakness of the text, viewing Conrad’s inability to name things as an unseemly quality in a writer who’s supposed to be one of the greats. Perhaps this is itself a testament to the Heart of Darkness’s breadth of interpretability.
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