Elementary school libraries are supposed to be welcoming spaces, filled with literature and learning and inside voices. Alvin Schwartz's books are best known for traumatizing an entire generation of young people. It was one of the most frequently challenged series of the '90s, widely hated by parents for giving children nightmares and "making light of death. Many kids, as it turns out, want to be scared. They delight in the macabre. They don't especially care about what's "age appropriate. The Scary Stories series was hugely influential for all us creeps, and it's about to hit the big screen in a movie that brings all your favorite childhood nightmares to life.
But of course, a feature-length film can only fit so many monsters. Some of the most skin-crawling creatures from the book just didn't make the cut. If you've seen the trailer for the new Scary Stories movie, you already know that the scarecrow Harold finally gets his turn in the limelight. Unlike most cinematic scarecrows, though, Harold is not in search of a brain — he's much rather have your flesh, flayed and bloody and stretched out on the roof to dry. In the book, Harold is an ordinary scarecrow who gets mistreated by his farmers, until he one day springs to life and starts seeking revenge.
These 13 'Scary Stories To Tell In The Dark' Monsters Are The Creepiest Ones In The Books
He may be an absolute terror dredged up from the deepest pits of hell Be kind to your scarecrows, folks. No thanks! Do not want! The Thing looks freaky, as monsters are wont to do. But what's freakiest about the Thing is that it turns you into a Thing, too.
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In the story, two boys are bumming around when they come across a figure with rotting flesh i. Maybe the Thing was a visitor from the future? The Gammell illustration is what really made this one. No one's forgetting that melting, eyeless ghost face in a hurry. Let's assume that the primary mission of a writer like Tom Waits has been to draw on the expected role of a pilgrim, a searcher. If we have all been corrupted by original sin, and we find some sort of faith, it doesn't always work.
That's when we surrender to the inevitability of mystery and the comfort of revelation. We impose extraordinary meaning to the most mundane concrete images: a cross, a Star of David, a veil to cover our faces as a sign of submission. In the song "Down There by the Train", released in on the triple album Orphans and heard here as rendered by Johnny Cash in , Waits takes the great American folk music tradition of trains as the last refuge and common denominator for all saints and sinners:.
It's the rare "theological" song of Waits where judgement is not based strictly an "eye-for-an-eye" perspective. Life is broken, but on the train bound for somewhere, a promised land or just another stop on the road to the end, there is common ground:. Another Orphans track, "Never Let Go", first released on the soundtrack of the film American Heart , built on the mysterious strength of organic undying faith and fidelity, with no obligation to an ethereal higher power. It reveals itself in the unbound limitless wonders of love. The "eye for an eye" image is quoted at the beginning, but then Waits adds a contemporary twist:.
The mood builds, spare and dark.
Who is this guy that once killed a man with a guitar string? This character is built on a series of myths: "There are those who say beneath his coat there are wings". By the end of the song we learn that everybody denies ever having seen him, but early in the song the end of the second verse there's no mistaking who this character might be:.
The era of great singer-songwriters who came of age in the early '70s is riddled with creative and mortal casualties. Those who slipped this mortal coil Harry Chapin, Jim Croce are allowed to rest on laurels earned solely by reputation of their work at the time. Don Mclean burst on the scene with "American Pie" and has had to live with that legacy forever.
Tom Waits perfectly embodied the beatnik persona for the first ten years of his career and has radically reconfigured his means of delivery for the past 45 years. His catalog is filled with songs of longing, desire, warm life, death, and a remarkable career-spanning meditation on variations of faith. His originals are sometimes grueling, often impenetrable, and always brilliant. Director Ben Berman set out to make a documentary about a magician. The Amazing Jonathan Documentary became a meta-documentary that raises ethical questions about documentaries. Chavis Woods' Times A Memoir of Sexism is the ideal tool for inciting the collective rage needed to subvert gender-based harassment and violence.
Does this have larger, real-world implications? A cancelled tour carved out a whole bunch of time for electronic duo Sofi Tukker to make their new EP Dancing on the People.
'Stygian,' 'Umbra,' and Other Darkness Words
Here's why a broken foot might have been a blessing in disguise. How death, legal battles, and scavengers couldn't stop the legacy of Gang Starr, one of the most important pillars of hip-hop. Overtly addressing his issues with anxiety, he uses the musical tools at his disposable to work through his subconscious. Horror movie maker Joshua Kennedy knows how to make imaginative movies with little or no money. He made an homage to '70s airline disaster films without a plane -- but with plenty of folding chairs.
The Mexican student struggle of reaches forward to democratic struggles today. Haile Gerima's Bush Mama remains a critically transformative film, particularly in its most subliminal, yet important, proclamation: the days of separating "art" and "artist" are over. For in Black cinema, those days never existed to begin with. For their Double Exposure tour, Chromatics travel through their endless gems in a masterful performance in Manchester.
Bob Dylan is going nowhere—and will continue to do so. This bore regular fruit, for after the first interview the manuscript records daily calls of the young man, during which he related startling fragments of nocturnal imagery whose burden was always some terrible Cyclopean vista of dark and dripping stone, with a subterrene voice or intelligence shouting monotonously in enigmatical sense-impacts uninscribable save as gibberish.
A final birthday
On March 23rd, the manuscript continued, Wilcox failed to appear; and inquiries at his quarters revealed that he had been stricken with an obscure sort of fever and taken to the home of his family in Waterman Street. He had cried out in the night, arousing several other artists in the building, and had manifested since then only alternations of unconsciousness and delirium. My uncle at once telephoned the family, and from that time forward kept close watch of the case; calling often at the Thayer Street office of Dr.
Tobey, whom he learned to be in charge. He at no time fully described this object, but occasional frantic words, as repeated by Dr. Tobey, convinced the professor that it must be identical with the nameless monstrosity he had sought to depict in his dream-sculpture. His temperature, oddly enough, was not greatly above normal; but the whole condition was otherwise such as to suggest true fever rather than mental disorder.
On April 2nd at about 3 p. He sat upright in bed, astonished to find himself at home and completely ignorant of what had happened in dream or reality since the night of March 22nd. Pronounced well by his physician, he returned to his quarters in three days; but to Professor Angell he was of no further assistance. All traces of strange dreaming had vanished with his recovery, and my uncle kept no record of his night-thoughts after a week of pointless and irrelevant accounts of thoroughly usual visions.
H ere the first part of the manuscript ended, but references to certain of the scattered notes gave me much material for thought—so much, in fact, that only the ingrained skepticism then forming my philosophy can account for my continued distrust of the artist.
The notes in question were those descriptive of the dreams of various persons covering the same period as that in which young Wilcox had had his strange visitations. My uncle, it seems, had quickly instituted a prodigiously far-flung body of inquiries amongst nearly all the friends whom he could question without impertinence, asking for nightly reports of their dreams, and the dates of any notable visions for some time past.
- How to Become an Enlightened Psychic, Medium and Metaphysical Master: Handbook of Curriculum, Lessons, Training, Supernatural Techniques and Powers (From ... the future and psychic readings 1).
- by Joseph Conrad?
- La città: bisogni, desideri, diritti. La città diffusa: stili di vita e popolazioni metropolitane (Sociologia urbana e rurale-Sez. 1) (Italian Edition);
The reception of his request seems to have been varied; but he must, at the very least, have received more responses than any ordinary man could have handled without a secretary. This original correspondence was not preserved, but his notes formed a thorough and really significant digest. Scientific men were little more affected, though four cases of vague description suggest fugitive glimpses of strange landscapes, and in one case there is mentioned a dread of something abnormal.
It was from the artists and poets that the pertinent answers came, and I know that panic would have broken loose had they been able to compare notes.
As it was, lacking their original letters, I half suspected the compiler of having asked leading questions, or of having edited the correspondence in corroboration of what he had latently resolved to see. That is why I continued to feel that Wilcox, somehow cognizant of the old data which my uncle had possessed, had been imposing on the veteran scientist. These responses from esthetes told a disturbing tale. Over a fourth of those who reported anything, reported scenes and half-sounds not unlike those which Wilcox had described; and some of the dreamers confessed acute fear of the gigantic nameless thing visible toward the last.
One case, which the note describes with emphasis, was very sad.
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