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It really gets the reader thinking. One day, Lane finds that small things are missing, things such as his beer to his late brother's coat rack. The next morning he wakes up to find that places he has been familiar with his whole life are now different. He also finds that his late brother is no longer dead.

The world and Lane's reality is shifting, but in doing so, he is given the opportunity to save his brother's life. Will he be able to do it? This book will leave you reeling. May 22, Sally rated it it was amazing. This was a short story.


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I really enjoyed it and want it to be a novel. Mar 06, Rhonda rated it really liked it. Awesome story. This story left me a little off balance. Very good plot, expertly written. The main character is sympathetic and likeable. It's easy to feel for him in his confusion. There is also a second story in the book, equally compelling. I loved both of them. Neither was particularly scary, but both were thought provoking and intriguing.

They reminded me very much of the old Twilight Zone series. Highly recommended with 5 stars from me. Dec 21, Bandit rated it really liked it. I really liked this story. It was captivating from the very first sentence, although I did wish it had more of an ending.

Did you get it?

Dark Reality in this case is more like a surreal reality, a world where things are not quite as they seem and could change at any moment. This is my second story by this author and I continue to be impressed. Oct 31, Wendy rated it it was ok. Could've been a 3-Star short story, but it ended quite abruptly, when it could've gone on much further.

Sort of a Twilight Zone type of twist. Dec 23, Sheila Rodden rated it did not like it.

Voices in the Dark (闇の声; Yami No Koe)

Not a book! This was not a novel. It is a sampling of excerpts from the author's books. Waste of time. Do not spend money on this.

Aside from allowing us to develop an ethical approach towards thinking about the otherness of places and objects, developing a mode of ecocriticism adequate to dealing with weird writing allows for the elaboration of critical and not dogmatic forms of eco-critical practice, since it is the gap between the real and the natural that opens the space for a criticism that does more than envision literature simply as a sweetened means for delivering the dry truths of scientific discoveries, but rather as an art that alludes to an all-important yet obscure reality to which we must learn to attend.

Borrowing a term from Graham Harman , I call the realism of horror weird realism. Weird realism involves the insistence that there is a reality outside and beyond the senses, while at the same time claiming that this reality can, in occult and incomprehensible ways, interfere with and challenge our reality, altering it and transforming it in sometimes inscrutable, contingent, or weirdly super-Natural ways.

In weird realism, the object outside experience does exist, and it exists wholly independently of our experience or even our logic. VanderMeer Yet if we cannot, and do not, fully understand these sophisticated organisms, they can nevertheless affect or influence that experience and logic in ways that do not wholly make sense to us.

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Thus the real, while never fully present to our minds or our senses, appears to us as dark, weird, veered, or uncanny. Reckoning with the fact that reality is sometimes stranger than fiction, however, sometimes means accepting that the actual can be confounded with the delusions of an unhealthy mind. But it can also articulate itself in various rhetorical strategies aimed at either expressing the outside or repressing the almost automatic mechanisms of naturalization that interpose themselves between places and their representations.

The product of these weird expressions of place is not knowledge, as in the case of science or naturalistic writing, but rather attunement, a straining after or intensified awareness of the presence of others that also relate, beyond our perceptions and cognitions, amongst themselves, and so form places. We might say that this is an awareness, and not a knowledge, of the weird reality of ecosystems. Yet one of the most salient facts about life in what Paul Crutzen and a growing mass of social scientists, historians, and literary critics call the Anthropocene is precisely our growing awareness of the gap between the cosmos as it appears to us and its depths.

We are all—I hope—disturbed by the fact that the juicy red tomato that we buy at the store is actually filled with carcinogenic pesticides. We should not feel that nothing happens to the world when we turn on our cars, though we often do forget that this simple and seemly inconsequential act is responsible for adding invisible CO2 particles into our atmosphere.

Horror Quotes - BrainyQuote

These are all, admittedly, gaps that are glimpsed between the Nature of science and the Nature of the lifeworld of ordinary perception, but they do remind us of the horrifying uncanniness of the cosmos, and the complicity of our ordinary ways of perceiving in the perpetuation of our collective ecocide. In sum, the fracturing of our world supports the weird realist speculation that there is more to the world than is dreamt of in our naturalist philosophy. The latter half of the text, largely in dialogue with VanderMeer, explores more profoundly the interest of weird writing for thinking about and living in the increasingly horrifying and uncanny age that is the Anthropocene.

Poe is quite specific about the time and the ambiance, the specifics of his experience. The choice of analogies brings this out, not only because the narrator associates the queer reality of the house with ordinary reality, with what most of us would call the real itself and not the drug-fueled daydream. The same inversion is suggested by the figure of the veil, a trope that, as Pierre Hadot has explored, was long used in alchemical and other occult circles to refer to the concealed secret orders of the natural world.

The reason behind this replacement of the ordinary with the dream world is clarified by a nearly philosophical claim that is introduced in the lines that follow. Without denying that this line is indeed obscure, let us say that it is clear enough to open up a rather rich field of speculations into the metaphysical notions crucial to thinking about horror and place.

All that appears to us as subjects is a unified object, that is to say, drawing on the Husserlian doctrine of intentionality, a discrete and unified entity as opposed to a bundle of discrete qualities. Objects surround us always, and they compose to a certain extent the most familiar elements of our existence. But though common, objects are obscure and sources of obscurity.

Objects do not remain fixed when we encounter them, live with them, or even merely attempt to pick them up. Objects slip through our fingers in both a literal and theoretical sense, and when they do they reveal more of themselves to us, present us with new depths and concealed aspects, aspects of the object independent from any theoretical or practical grasp that we might have of them, but which might matter with respect to the combinations that they can compose.

Even what seems most present to us, the objects around us, our surroundings, are apt to dupe us, to seem one thing and to actually be another. The chair in the corner of the room might turn out to be a statue made of Styrofoam. The girl staring at me from a window across the street might turn out to be a mannequin or a machine, as in E. No object is ever revealed to us in its totality, each has another perspective from which it might be viewed, or a concealed otherness, and that is only speaking of the object from the viewpoint of a vision without dynamism.

I take this evanescence and lubricity of all objects, which lets them slip through our fingers then when we clutch hardest, to be the most unhandsome part of our condition. Nature does not like to be observed, and likes that we should be her fools and playmates Emerson Following Hume, then, it is a real logical possibility that effects that seem totally fantastic follow from causes that we have a false tendency to consider as logically evident because they are concordant with past experience. Why, for instance, should one billiard ball necessarily impart its motion to another?

May not both these balls remain at absolute rest? May not the first ball return in a straight line, or leap off from the second in any line or direction? All these suppositions are consistent and conceivable Of course we are here speaking about a metaphysical possibility with respect to how we imagine reality, and this in turn yields a point of rupture between two different approaches to the writing of fiction, and indeed, to the reading of Poe.

This would be the tradition described by S. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. Nevertheless, the mind is here introduced in such a way as to render the real all the more horrifying, since the mind is seen as blocking us from seeing what is actually there. In Lovecraft it is never madness that engenders the experience of the real, but rather the encounter with the real that provokes fits of madness.

Madness is thus the testament and seal of having experienced the real.

Moreover, as an animate being, the place is unaccountable, granted will, spontaneity, and the capacity to be acknowledged and to demand acknowledgment. Within the context of the tale, it is important to note that we will soon discover that the seeming rats are not quite rats, but rather rat-like beings with human hands for paws, which is to say that our apparent identification of the sounds as rat-sounds is itself undone, itself part of the mechanism of consciousness that we humans rely on, but which can be fallible at any instant.

Meanwhile, quite aside from this description of ambient noise that turns out to be erroneously familiar, part of the description turns on sounds that are inexplicable and hardly to be signified, and also sounds that are only suspected it turns out rightly , but unheard. Considered closely, this description is much weirder than one is prepared for. What, after all, is meant by the outer and inner ends of the north wall?

How can a ceiling slant downward in the same direction that a wall slants outward?