Vivaldiâs Ercole sul Termodonte, dir. John Pascoe (Festival di Spoleto, 2006) (x)
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Vivaldiâs Ercole sul Termodonte, dir. John Pascoe (Festival di Spoleto, 2006) (x)

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from Paul Carroll's 1963 review of We Have Always Lived in the Castle, quoted by Hattenhauer in Shirley Jacksonâs American Gothic
âWhen Iâd first loved him, I wanted to take him apart, as a child dismembers a clockwork toy, to comprehend the inscrutable mechanics of its interior. I wanted to see him far more naked than he was with his clothes off.â
â Angela Carter, from âFlesh and the Mirror,â Burning Your Boats: The Collected Short Stories
barthes, a loverâs discourse
some people have asked where this is from, which i answered in the replies (it's from the book The Vampire, Dracula and Incest by Daniel Lapin). a couple of people have asked what "concrete vampirism" means, so here is the context for this diagram:
so "concrete vampirism" is just what it sounds like, that is, the act of drinking another person's blood. for the record, clinical vampirism, despite the term, is not recognized as a diagnosis in the DSM (this isn't me recognizing the DSM as any kind of authority but clearing up that the word clinical might be a little misleading).
beauty and the beast (1946) is kinda lit
jean cocteau was so real for this
women have always wanted to fuck the beast

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Nina Auerbach, excerpt of Our Vampires, Ourselves
kinuko y. craft early 2000s fantasy book covers my beloveds
Article on Gothic Romance and interview with Guillermo Del Toro from Fortean Times magazine February 2016 .
Yes, I need to pick up a copy of this issue.Â
Esther Sarto
Jupiter et SĂŠmĂŠlĂŠ / Jupiter and Semele (details) â Gustave Moreau (1894-1895)

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from donna tartt's afterword for we have always lived in the castle
Paperback horror novels by Shirley Jackson
Published by Popular Library, 1970s
âThen the bride put back her veil, and Betty, studying the white face, saw that this actually was not herself; it was her dead sister Letice.â
David Murray Smith (1865â1952), âPomps and Vanitiesâ
illustration from âA Book of Ghostsâ by Sabine Baring-Gould, 1904
source
I might have said, âWhere is it?â for it did not seem in the roomânor in the houseânor in the garden; it did not come out of the airânor from under the earthânor from overhead. I had heard itâwhere, or whence, for ever impossible to know! And it was the voice of a human beingâa known, loved, well-remembered voiceâthat of Edward Fairfax Rochester; and it spoke in pain and woe, wildly, eerily, urgently.
âI am coming!â I cried. âWait for me! Oh, I will come!â
Jane Eyre (1943) dir. Robert Stevenson
The Death of Sappho (1896) by Charles Amable Lenoir (French, 1860 â 1926), oil on canvas, 69 x 38 cm (approx. 27.2 x 15 in), Private Collection

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My selection of Reiko Shimizuâs Miracle Tarot cards (1994) posted by @animarchive
Apollo! God of the silver bow đ