Willy Martinez's Blog, page 42

I Told The AI To Imitate My Writing Syle And Here Is What Happened

Yes, what the title says is true. And yes, I know, artists don’t dabble with AI. That’s a debate for another blog.

This is a lot more positive than I expected to be honest. It’s actually upbeat – and yeah, it did a great job depicting me. I guess I just figured the story would be more within the Dark Fiction genre since you know, that’s usually the style I write it. But I guess this AI pulled from my bio, my poems, and my science fiction works to punch this one out.

I Told AI to Imitate My Writing Style to Create Flash Fiction

The night was cold and still, the snow having fallen quietly a few hours earlier and the air now heavy with its blanket of white. Willy Martinez stood in the middle of the deserted street, the silence that stretched out around him broken only by his own breathing. He looked up at the stars, their distant light twinkling in the sky, and smiled.

Thoughts of his family ran through his mind as he stood in the street, his parents, his brothers, and sisters, their laughter and love still echoing in his memory. He remembered the way his father had taught him to read, the way his mother had sung to him when he was afraid, and the way his siblings had been his constant companions.

He thought of the little house at the end of the street, the one with the broken window, and he smiled sadly. It had been their home, the same one he had grown up in, the same one that had given them shelter and hopes in the bleakest of times.

It had been a long and difficult journey, but he had made it. He had come a long way, and he had achieved more than anyone could have expected. But still, he remembered the past, remembered the good and the bad, and remembered why he had kept going.

And so, with a deep breath, Willy Martinez stepped forward, his feet stirring the snow beneath him, determined to make it to the end of the street. He looked up at the stars, their distant light twinkling in the sky, and smiled. For he was sure of one thing: no matter how difficult the path may have been, he had the courage to keep going.

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Blood, Guts, and Graphic Design: The 13 Most Killer Horror Book Covers of the 70’s and ’80s

As a horror enthusiast, I have always been fascinated by the book covers that adorn the spine-chilling tales of terror. The ’70s and ’80s were a golden age for horror literature, and the book covers were just as important as the stories themselves. In this article, I will take you on a journey through the most killer horror book covers of the ’70s and ’80s, analyzing the design elements and their impact on the horror genre.

The Importance of Book Covers in the Horror Genre

In the horror genre, a book cover is the first point of contact between the reader and the story. It is essential to capture the essence of the story and evoke the emotions that the author intended. A good horror book cover should be able to send shivers down your spine and make you want to read the story. It should be able to create an atmosphere of dread and terror.

In the ’70s and ’80s, horror book covers were an art form. They were not just a way to sell books but also a way to express the horror and terror that lay within the pages. The covers were designed to be provocative and to make a statement. They were not shy about using blood, gore, and violence to grab the reader’s attention.

The Top 15 Horror Book Covers of the ’80s1. Stephen King’s “It” (1986)

The cover of Stephen King’s “It” is iconic. The image of a sinister clown peering out of a drain is one of the most recognizable horror book covers of all time. The cover perfectly captures the creepy and unsettling atmosphere of the book.

2. Clive Barker’s “The Damnation Game” (1985)

The cover of Clive Barker’s “The Damnation Game” is a work of art. It features a grotesque creature with a human face and a body made of twisted metal. The cover perfectly captures the dark and twisted nature of the story.

Marty Strauss, a gambling addict recently released from prison, is hired to be the personal bodyguard of Joseph Whitehead, one of the wealthiest men in the world. The job proves more complicated and dangerous than he thought, however, as Marty soon gets caught up in a series of supernatural events involving Whitehead, his daughter (who is a heroin addict), and a devilish man named Mamoulian, with whom Whitehead made a Faustian bargain many years earlier, during World War II.

3. James Herbert’s “The Rats” (1984)

The cover of James Herbert’s “The Rats” is simple but effective. It features a pair of ominous red eyes peering out from the darkness. The cover perfectly captures the sense of unease and terror that permeates the book.

The long-dreaded nuclear conflict has come. The city is torn apart and its people destroyed or mutilated beyond hope. For just a few, survival is possible only beneath the wrecked streets—if there is time to avoid the slow-descending poisonous ashes. But below, the rats, demonic offspring of their irradiated forebears, are waiting. They know that man has been weakened, become frail—and has become their prey.

Phantom World

4. Robert R. McCammon’s “Swan Song” (1987)

Facing an unprecedented malevolent enemy, the US government responds with a nuclear attack. Soon, America, as it was, is gone forever, and now every citizen—from the president of the United States to the homeless on the streets of New York City—will fight to stay alive. In a wasteland born of rage and fear, populated by monstrous creatures and marauding armies, Earth’s last survivors are drawn into the final battle between good and evil, which will decide the fate of humanity: Sister, who discovers a strange and transformative glass artifact in the destroyed Manhattan streets…Joshua Hutchins, the pro wrestler who takes refuge from the nuclear fallout at a Nebraska gas station…and Swan, a young girl possessing special powers, who travels alongside Josh to a Midwest town where healing and recovery can begin with her extraordinary gifts. But the ancient force behind the world’s devastation is scouring the walking wounded for recruits to build its relentless army, beginning with Swan herself…

Thank you for visiting with us. For more poetry or Literature related content, visit our blog at The Ritual.

5. Anne Rice’s “Interview with the Vampire” (1986)

The time is now.

We are in a small room with the vampire, face-to-face, as he speaks – as he pours out the hypnotic, shocking, moving, and erotically charged confessions of his first 200 years as one of the living dead…

He speaks quietly, plainly, even gently…carrying us back to the night when he departed human existence as heir – young, romantic, cultivated – to a great Louisiana plantation, and was inducted by the radiant and sinister Lestat into the other, the “endless”, life…learning first to sustain himself on the blood of cocks and rats caught in the raffish streets of New Orleans, then on the blood of human beings…to the years when, moving away from his final human ties under the tutelage of the hated yet necessary Lestat, he gradually embraces the habits, hungers, feelings of vampirism: The detachment, the hardened will, the “superior” sensual pleasures.

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Processing… Success! You're on the list. Whoops! There was an error and we couldn't process your subscription. Please reload the page and try again. 6. Peter Straub’s “Ghost Story” (1980)

The cover of Peter Straub’s “Ghost Story” is deceptively simple. It features a white ghostly figure on a black background. The cover perfectly captures the eerie and unsettling atmosphere of the story.

#1 New York Times bestselling author Peter Straub’s classic tale of horror, secrets, and the dangerous ghosts of the past…
 
What was the worst thing you’ve ever done?
 
In the sleepy town of Milburn, New York, four old men gather to tell each other stories—some true, some made-up, all of them frightening. A simple pastime to divert themselves from their quiet lives.
 

7. Dean Koontz’s “Watchers” (1987)

On his thirty-sixth birthday, Travis Cornell hikes into the foothills of the Santa Ana Mountains. But his path is soon blocked by a bedraggled Golden Retriever who will let him go no further into the dark woods.

That morning, Travis had been desperate to find some happiness in his lonely, seemingly cursed life. What he finds is a dog of alarming intelligence that soon leads him into a relentless storm of mankind’s darkest creation….

8. Graham Masterton’s “The Manitou” (1976)

The cover of Graham Masterton’s “The Manitou” is a classic.

Phony psychic and conman Harry Erskine never really believed in the occult until Karen Tandy approached him with a rapidly growing tumor on her neck, complaining of dark and disturbing dreams. When the mass is revealed by doctors to contain something living, the stakes skyrocket—not only for Karen and Harry but for all humanity.
 
Something terrible is returning from the shadows to which it has been confined for centuries—a Native American monstrosity determined to destroy every vestige of the white race that oppressed and preyed upon America’s Indians. And unless a motley group of ill-prepared defenders can harness ancient native magic, there will be no stopping the malevolent shaman’s terrible rebirth—and no escaping the wholesale carnage it will engender.

9. John Saul’s “The Unloved” (1988)

The cover of John Saul’s “The Unloved” is creepy and unsettling. It features a pair of dolls with blank expressions. The cover perfectly captures the sense of dread and unease that permeates the story.

The Unloved tells the story of the Devereaux family, Dad Kevin, Mom Anne, older daughter Julie, and young son Jeff. They are returning to Sea Oaks, the Devereaux family manor on an island off the coast of South Carolina, to give Kevin a chance to see his mother before she kicks off.

Thank you for visiting with us. For more poetry or Literature related content, visit our blog at The Ritual.

10. Richard Laymon’s “The Beast House” (1986)

The cover of Richard Laymon’s “The Beast House” is graphic and disturbing. It features a snarling creature emerging from a house. The cover perfectly captures the brutal and savage nature of the story.

Author Gorman Hardy is hot on the trail of another bestseller and if half what’s said about Malcasa Point is true, he’s bound to make a killing. Petite and pretty Tyler and sexy Nora visit Malcasa full of expectation. But Malcasa Point is a place of pain, bestiality and death in The Beast House.

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11. Stephen King’s “The Shining” (1977)

The cover of Stephen King’s “The Shining” is a classic. It features a creepy hotel with an ominous presence. The cover perfectly captures the sense of isolation and terror that lies within the pages.

The Shining, gothic horror novel by Stephen King, first published in 1977. Eclipsed perhaps only by its 1980 film adaptation, the novel is one of the most popular and enduring horror stories of all time. A sequel, titled Doctor Sleep, was published in 2013.

12. Shaun Hutson’s “Breeding Ground” (1985)

The cover of Shaun Hutson’s “Breeding Ground” is graphic and disturbing. The cover perfectly captures the visceral horror of the story.

The slugs have come hack… slowly… silently… they slither along dank, fetid tunnels into the city in search of human flesh. Their insatiable need knows no bounds.

But now they bring a new horror – a plague which spreads insanity and death, transforming its victims into grotesque, crazed killers.

Caught in this maelstrom of horror is Dr. Alan Finch – the only man capable of destroying the Breeding Ground forever.

FacebookTwitterInstagramLinkedInGoodreads13. Ramsey Campbell’s “Incarnate” (1983)

Molly, a young television production assistant, and her lover, Martin, struggle for survival against a monstrous, diabolical force created by Molly and her fellow participants in a scientific experiment in prophetic dreaming.

Five people are brought from London to participate in a controlled experiment studying prophetic dreaming. But the results are so ominous that the program is cut short.

Now a monstrous presence is in the subjects’ lives, a creature created by their group dream eleven years ago, drawing them inexorably into its awful vortex.

14. William Peter Blatty’s “The Exorcist” (1971)

The cover of William Peter Blatty’s “The Exorcist” is iconic. It features a demonic face with glowing eyes. The cover perfectly captures the sense of terror and possession that lies within the pages.

Four decades after it first shook the nation, then the world, William Peter Blatty’s thrilling masterwork of faith and demonic possession returns in an even more powerful form. Raw and profane, shocking and blood-chilling, it remains a modern parable of good and evil and perhaps the most terrifying novel ever written.

“The Exorcist is a 1971 novel by William Peter Blatty. The book details the demonic possession of twelve-year-old Regan MacNeil, the daughter of a famous actress, and the Jesuit psychiatrist priest who attempts to exorcise the demon.

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15. James Herbert’s “The Fog” (1975)

The cover of James Herbert’s “The Fog” is simple but effective. It features a pair of glowing eyes in a dark background. The cover perfectly captures the sense of dread and terror that permeates the story.

The Fog is a horror novel by English writer James Herbert, published in 1975. It is about a deadly fog that drives its victims insane when they come into contact with it. Herbert’s second book, it is completely unrelated to the film The Fog by John Carpenter.

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Each of these book covers has a unique design element that makes it stand out. The cover of “It” uses color and contrast to create a creepy and unsettling atmosphere. The cover of “The Damnation Game” uses intricate details and textures to create a sense of dread and horror. The cover of “The Rats” uses simplicity to capture the essence of the story.

The cover of “Swan Song” uses a surreal and dreamlike image to capture the apocalyptic nature of the story. The cover of “Interview with the Vampire” uses a gothic and sensual image to capture the essence of the story. The cover of “Ghost Story” uses negative space to create an eerie and unsettling atmosphere.

The cover of “Watchers” uses a striking image to capture the sense of danger and suspense that lies within the pages. The cover of “The Manitou” uses a demonic figure to capture the supernatural horror of the story. The cover of “The Unloved” uses a simple and unsettling image to capture the sense of dread and unease.

The cover of “The Beast House” uses a graphic and disturbing image to capture the brutal and savage nature of the story. The cover of “The Shining” uses an ominous and creepy image to capture the sense of isolation and terror. The cover of “Breeding Ground” uses a grotesque and visceral image to capture the horror of the story.

The cover of “Incarnate” uses a supernatural and demonic figure to capture the horror of the story. The cover of “The Exorcist” uses a demonic image to capture the sense of possession and terror. The cover of “The Fog” uses simplicity to capture the sense of dread and terror that permeates the story.

The Influence of Pop Culture on Horror Book Cover Design

The ’80s were a decade of pop culture, and horror book covers were no exception. The covers of these books were influenced by the horror movies, music, and art of the time. The iconic cover of “It” was inspired by the fear of clowns that was prevalent in the ’80s. The cover of “The Damnation Game” was influenced by the surreal and grotesque art of H.R. Giger.

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The cover of “The Rats” was influenced by the fear of vermin that was prevalent in the ’80s. The cover of “Swan Song” was influenced by the apocalyptic movies and music of the time. The cover of “Interview with the Vampire” was influenced by the gothic and romantic art of the time.

The cover of “Ghost Story” was influenced by the minimalist art of the ’80s. The cover of “Watchers” was influenced by the popularity of horror movies featuring dogs. The cover of “The Manitou” was influenced by the supernatural horror movies of the ’80s.

The cover of “The Unloved” was influenced by the popularity of dolls in horror movies. The cover of “The Beast House” was influenced by the graphic and violent horror movies of the time. The cover of “The Shining” was influenced by the popularity of Stephen King’s books and movies.

The cover of “Breeding Ground” was influenced by the visceral and graphic horror movies of the time. The cover of “Incarnate” was influenced by the demonic horror movies of the ’80s. The cover of “The Exorcist” was influenced by the popularity of possession horror movies.

FacebookTwitterInstagramLinkedInGoodreadsHow Horror Book Covers Have Evolved Since the ’80s

Horror book covers have come a long way since the ’80s. Today, book covers are designed to be more subtle and sophisticated. They rely less on graphic images and more on symbolism and metaphor. The book covers of today are designed to appeal to a wider audience and to be more marketable.

However, the legacy of the ’80s horror book covers lives on. The covers of the ’80s were groundbreaking and pushed the boundaries of what was acceptable in the horror genre. They were provocative and daring, and they captured the essence of the stories they represented. The ’80s horror book covers have influenced a generation of horror writers and artists, and they continue to inspire new works of horror today.

Halloween Book Covers: A Special Mention

Phantom World

Halloween is a special time for horror enthusiasts, and horror book covers play an important role in the festivities. Halloween book covers are designed to be creepy, spooky, and atmospheric. They are meant to capture the essence of the holiday and to evoke the feelings of terror and dread that are associated with it.

Some of the most iconic Halloween book covers include “The Haunting of Hill House” by Shirley Jackson, “Dracula” by Bram Stoker, and “Frankenstein” by Mary Shelley. These books have become synonymous with Halloween, and their covers have become iconic symbols of the holiday.

The Impact of These Book Covers on the Horror Genre

The book covers of the ’80s had a significant impact on the horror genre. They pushed the boundaries of what was acceptable in the genre and opened up new avenues for horror writers and artists. The covers were provocative and daring, and they captured the essence of the stories they represented.

The ’80s horror book covers inspired a generation of horror writers and artists, and they continue to influence the genre today. They have become iconic symbols of the horror genre and have helped shape how horror is perceived and enjoyed.

FacebookTwitterInstagramLinkedInGoodreadsThe Collectors’ Market for 1980s Horror Paperbacks

The ’80s horror book covers have become collectibles for horror enthusiasts. The covers are sought after by collectors who appreciate the art and the history behind them. First editions and rare covers can fetch high prices on the collectors’ market, and they are highly coveted by horror fans.

The collectors’ market for ’80s horror paperbacks is a thriving industry, and it is a testament to the enduring legacy of these killer book covers.

The Enduring Legacy of These Killer Book Covers

The ’80s horror book covers were groundbreaking and influential. They pushed the boundaries of what was acceptable in the horror genre and opened up new avenues for horror writers and artists. The covers were provocative and daring, and they captured the essence of the stories they represented.

The legacy of these killer book covers lives on today. They have inspired a generation of horror writers and artists, and they continue to influence the genre. The book covers of the ’80s have become iconic symbols of the horror genre, and they will continue to be appreciated and collected by horror enthusiasts for generations to come.

So, the next time you pick up a horror book, take a moment to appreciate the cover. It may be just as important as the story itself.

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The Supernatural Power of the Sublime in William Wordsworth’s Poetry

Williams Wordsworth is of course and undoubtedly one of the most influential romantic poets of his era. In addition to his panegyric theme of nature in his work, many critics discuss/debate the supernatural imagery in his Lucy poems or temporality in “The Prelude”, but I would like to study Wordsworth’s application of rhetoric: “We need to know something about conceptual patterns and about the effect of these patterns in discourse” (D’Angelo 6). He is a master of what rhetoricians would call the ‘common place’, and the sublime as defined by Longinus.

This article will attempt to identify elements of classical rhetoric in hopes to provide unification of the many discussions over the Lucy poems included in the anthology and “The Prelude”.

This is not at all suggesting that the others are wrong or taking the wrong approach by any means, I simply aim to provide a classic lens for a perspective on where Wordsworth stands as far as the use of rhetorical devices for writers. In “A Conceptional Theory of Rhetoric”, D’Angelo points out that at the time that Aristotle wrote his treatise, “rhetoric and poetics were not yet considered separate disciplines, so, inventing in the poetic arts are really analytical topics” (40).

I will explore Wordsworth’s work as Aristotle might have and also see if Wordsworth meets up to the requirements prescribed by Longinus. The poems are limited to these few as a starting point; comparing the elements of the sublime and the commonplace in these poems may lay the groundwork for further investigation, but for now, they are plenty to discuss.

The Commonplace

An understanding of what is meant by ‘commonplace’ will be necessary before moving on to Wordsworth’s craft of the sublime. Traditionally, the word topic derives from the Greek word, ‘topos’, meaning “of a place” or “commonplace”. For the purpose of this evaluation, we will interpret commonplace as Aristotle had conceived it which “views the topics as abstract and analytical, to be used to probe any subject” (D’Angelo 38). Further, a commonplace is a viewpoint that the audience holds in common which is also determined by how the audience groups and identifies their interests or values (Aristotle 1.2.21). This “non-static” notion of knowledge works well with Wordsworth’s commonplace – the Supernatural realm. Building on the concept that commonplace knowledge is not based on facts, the supernatural in these poems can be described as being somewhere beyond where concepts and ideals are reduced to one.

A good poet will use metaphors and common places to communicate with many readers, such as Coleridge’s, “The Rime of the Ancient Mariner”, which places the pirate character at the entrance of a wedding. While entertaining and creative, this idea connects with many audiences because we are all familiar with what and how a wedding is conducted – this is commonplace. Notice that in Coleridge’s poem, the event takes place at the wedding; Wordsworth on the other hand takes the reader to a commonplace – the supernatural realm.

The existence of the supernatural theme is supported and studied in the works of Anne Ferry, John Primeau, and Carlo Bajetta. Primeau contends that Wordsworth did not have to exercise his “imagination by introducing supernatural elements into his poetic works, but that he could describe commonplace” (90). How Wordsworth transports the reader to the supernatural is what is now of interest.

His descriptions and use of ideas are highly rhetorical; they are not scientific or philosophical (even though he illuminates these ideas in other poems); they are limited to language. And this limitation of the human language is made explicit in Wordsworth’s “The Prelude, Book Seventh” when he writes “Imagination- here the power so-called through sad incompetence of human speech”

(363). To make his point clear, he follows up with examples of language limitations in the following stanza, beginning at line 623:

Were fellow Travellers in this gloomy Strait, And with them did we journey several hours At a slow pace. The immeasurable height

Of woods decaying, never to be decayed, The stationary blasts of waterfalls,

And in the narrow rent at every turn… Tumult and peace, the darkness and the light

Gloomy and straight are not necessarily ideas on their own, but since each one is more commonly associated with either a negative or positive connotation, they became competitive in the reader’s mind. And then there are the opposites of the stationary blasts; the reader must find a balance between the two. And this is the point where the supernatural commonplace is conjured with language. Pummeling the reader with such abrupt differences forces the reader to find a balance between the two extremes.

This balance area, I argue, is similar or can be viewed as the commonplace itself. Since there are no words that can truly describe the immense in a waterfall ‘blast’, it falls in correlates with the realm of the supernatural. This supernatural realm is pointed out in Rzepka’s article: “Lucy is actually more alive now that she is dead because she is now a part of nature and not just a human thing” (56).

It is in negation that the reader is transported = the negation of language and concepts which litter his poetry! These are not “visions divinely revealed through the medium of nature”, rather, they are the ‘common place’ that we all can relate to in our own internal experience (Ferry 70). Even though each reader will have his own location in mind, it is William Wordsworth that has transported them there with his language.

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Writers will continue to debate whether the Lucy poems do or don’t belong together or the importance of “The Prelude”. I believe that Wordsworth majesty over the sublime can unite some of these criticisms as being of the classical element of rhetoric. The rhetorician, Longinus, published a work titled “On the Sublime” in which he argues that the sublime, “wherever it occurs, consists in a certain loftiness and excellence of language and that it is by this, and this only, that the greatest poets and prose-writers have gained eminence, and won themselves a lasting place in the Temple of Fame” (Book 1).

Now let’s see if this is the reason for Wordsworth leaving such a great impression on English poetry. Longinus argues against the notion that there is delusion in attempting to reduce the sublime to technical and provides a set of five criteria that a work must accomplish in order to be sublime.

The five pursuits of novelty in thought are as follows:

(1) grandeur of thought;

(2) a vigorous and spirited treatment of the passions;

(3) a certain artifice in the employment of figures both thought and speech;

(4) dignified expression (choice of words and the use of metaphors);

(5) Majesty and elevation of the structure. Each characteristic of the sublime will be further defined and examined and tested with Wordsworth’s poetry beginning with the first.

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The grandeur of thought is the most important of the five because it is natural rather than acquired (Longinus Book 8). An example of this grandeur of thought can be studied in the following passage from “The Prelude, Book Seventh”:

Caught by the spectacle, my mind turned round As with the might of waters; an apt type

This Label seemed, of the utmost, we can know Both of ourselves and of the universe;

And on the Shape of that unmoving Man His steadfast face, and sightless eyes, I gazed

As if admonished from another world.

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This loftiness in language, to be able to dabble in the unknown by comparing the unknown in ‘ourselves and of the universe’ is an attempt to define the metaphysical with what we know as fact. Wordsworth describes this man as being from ‘another world’. This passage reinforces the idea of the universe is in every man and the “image of greatness of soul” (Longinus Book 9).

This greatness of soul is also captured in “A Slumber Did My Spirit Seal” when Wordsworth writes:

A slumber did my spirit seal; I had no human fears:

She seemed a thing that could not feel The touch of earthly years.

Again, we see the human soul survive earthly years and human fears and rise to greatness. To be lofty without bombast is now explicit in Wordsworth’s works of the Lucy Poems and in “The Prelude”. The way he moves the human spirit past our known world and into the supernatural can also be viewed as overlapping with the above theme of transportation to a commonplace. It is important to remember though, that Wordsworth takes the reader to the commonplace, he doesn’t just begin there or use it

as a ‘hook’ to draw the reader in. The commonplace helps magnify the grandeur of thought evoked by this poet.

The second requirement to fulfill in order to be sublime is to submit a vigorous and spirited treatment of the passions. This time we will begin with one of the Lucy poems, “Strange Fits of Passion Have I Known”. Clearly, as stated in the title, passion is addressed, but Wordsworth mixes his emotions here.

Strange fits of passion have I known: And I will dare to tell,

But in the Lover’s ear alone, What once to me befell.

When She I loved looked every day Fresh as a rose in June,

These feelings of love and beauty are then juxtaposed in the last lines with:

What fond and wayward thoughts Will slide Into a Lover’s head! “O mercy!” to myself I cried,

“If Lucy should be dead!”

Such a strong contrast to draw the notion of death from beauty with a personal dialogue, in the end, displays the tormented treatment of the passions. The poet could have just delivered the last lines as he did the rest of the poem, but he chose to deliver with quotes from the speaker, giving the passion a more personal effect. Without the personal attachment at the end, the poem would have just been a treatment of the passions without vigor.

“If You Smell Iodine, The Captain is Nearby” – Ukrainian Poetry

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The third quality of a sublime poet is achieved through their figures of thought and speech. In “Lucy Gray”, the natural distinction could have been: “No comrade Lucy knew; she dwelt in nature, although sweet in nature, she was still human”. Instead, Wordsworth amplifies his grand

thoughts with the figure of adjuration by using an apostrophe and jolting relation: “No comrade Lucy knew; She dwelt on a wide moor, – The sweetest thing that ever grew Beside a human door!” The gain in deploying this tool is the emphasis of her humanity in nature. The reader is forced to think about a little girl by a human door which is then contrasted by the following example of her humanity: “You yet may spy the fawn at play, The hare upon the green; But the sweet face of Lucy Gray Will never more is seen”. The theme of nature is made prevalent in this poem with figures of speech just as similar in “The Prelude”.

Fourth on the list is the use of dignified language, be it in the choice of words or metaphors. Searching for these qualities in Wordsworth’s poetry is rewarding because of its continuous decoration of these tools. To examine one passage, we will begin with “The Prelude, Book 8”:

And thus my heart was early introduced To an unconscious love and reverence Of human nature; hence the human Form To me became an index of delight,

Of grace, honor, power, and worthiness. Meanwhile this Creature, spiritual almost As those of Books, but more exalted far; Far from an imaginative form

This beautiful passage applies metaphor to human nature as an ‘index of delight’. Not only is it a metaphor but the choice to call it a delight helps elevate the subject in the mind of the reader. The human form is then referred to as being a ‘creature’ yet ‘spiritual almost’ interweaves metaphor and contrast as discussed above. Appropriate expressiveness occurs in “A Slumber did my Spirit Seal” when the poet writes “No motion has she now, no force; She neither hears nor sees; Rolled round in earth’s diurnal course, with rock, and stones, and trees.” Although there is no metaphor present, the choice of words and once again the contrast of the living physical to the dead physical is apparent. Wordsworth also juxtaposes her lack of motion and force with the movement of the earth’s rotations. Even these simple words hold weight in such a short poem.

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The last element needed to be sublime is the majesty of structure. By understanding how Wordsworth’s passages do not simply depend on arrangement or ideas; the language is subtle and cohesive.

This work must be a whole – that is to say – “the different members of the body, none of which is severed from its connection, has any intrinsic excellence, unite by their mutual combination to form a complete and perfect organism” (Longinus Book 39).

Book 7 of “The Prelude” begins:

As the black storm upon the mountain top Sets off the sunbeam in the Valley, so That huge fermenting Mass of human-kind Serves as a solemn background or relief

To single forms and objects, whence they draw, For feeling and contemplative regard,

More than inherent liveliness and power.

The language is smooth, the words are not hurried and there is a “distinct stress on each word, and the time is delayed” (Book 40). Nature is being described here in modesty; the globe itself is being described in a slow rhythm, including its environment and population. Yet, all of the events are restricted in their power by the singularity of nature as a whole.

Reviewing the work of William Wordsworth in the lineage of writing for horror, this chapter aimed to understand the sublime and the use of commonplace in Wordsworth’s poetry. We learned that using the commonplace can transport readers to the realm of the sublime, or the supernatural.

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Sea Longing: Poem by Sara Teasdale

A thousand miles beyond this sun-steeped wall
Somewhere the waves creep cool along the sand,
The ebbing tide forsakes the listless land
With the old murmur, long and musical;
The windy waves mount up and curve and fall,
And round the rocks the foam blows up like snow,
Tho’ I am inland far, I hear and know,
For I was born the sea’s eternal thrall.
I would that I were there and over me
The cold insistence of the tide would roll,
Quenching this burning thing men call the soul,
Then with the ebbing I should drift and be
Less than the smallest shell along the shoal,
Less than the sea-gulls calling to the sea.

by SARA TEASDALE (1884-1933)
Public Domain Poetry

Photo by Chermiti Mohamed on Unsplash.

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The Mythology of Canek and Sac Nicte: An Ancient Mayan Love Story

A Brief Overview of the Myth of Canek & Sac Nicte

The ancient Mayan love story of Canek and Sac Nicte is a fascinating tale that has been passed down through generations. It tells the story of two lovers, Canek and Sac Nicte, who are separated by their families due to their different social statuses. Despite this, they remain devoted to one another and eventually overcome all obstacles to be reunited. Along the way, they encounter various gods and goddesses from Mayan mythology who help them on their journey. This myth is an important part of Mayan culture, as it serves as a reminder of the power of true love.

The Mythology Behind Canek & Sac Nicte’s Epic Love StoryThe Mythology of Canek and Sac Nicte: An Ancient Mayan Love Story

The story of Canek and Sac Nicte is one of the most beloved Mayan myths. It tells the story of two star-crossed lovers, Canek and Sac Nicte, who are caught in a forbidden love affair that transcends time and space. The myth speaks to the power of love, and how it can transcend even the most powerful forces in nature. It also speaks to the importance of understanding our own human nature and accepting our differences. This epic tale has been passed down for centuries, inspiring generations with its timeless themes.

Canek and Sac Nicte: An Ancient Mayan Love Story

Sac Nicté was a princess born when Mayapán, Uxmal and Chichen Itzá coexisted as the great cities of the Mayan culture. It was a time when their kings had made a peace pact and armies did not exist.

Legend has it that when Canek was three times seven years old, he became king of Chichen Itza and saw the princess Sac Nicté for the first time, when she was only three times five years old. From that moment, they both knew that their lives would be destined to be together for eternity.

However, Sac Nicté had been destined by her father, the King of Mayapán, to be the wife of Ulil; crown prince of the kingdom of Uxmal. With only 37 days to go before the wedding, a messenger from Mayapán visited King Canek to invite him to the wedding, to which he replied that he would not miss it. That same night, a dark and old dwarf visited Canek and whispered in his ear: “The white flower awaits you among the green leaves, are you going to let another pluck it?”, just after the dwarf disappeared.

In Uxmal everything was getting ready for the wedding, the entire city had been decorated for the great occasion. Thus, when the moon looked like a sun, according to the Mayan rule, the marriage would take place, but Canek had not yet arrived. The days passed and just when Sac Nicté and Ulil were at the top of the altar, Canek appeared in the middle of Uxmal with his warriors to take the princess away in front of everyone’s eyes, leaving Prince Ulil alone in front of the altar.

This affront ended the peace that remained in the Mayab; Uxmal and Mayapán would unite in war against Chichen Itzá. Before the war broke out, the inhabitants of Itzá departed one night with the light of the moon to save their city, in front of them, King Canek went with his beloved Sac Nicté, who with his hands pointed the way between the green mountains. This is how the Itzáes and their king were saved from certain punishment.

By the time the armies of Uxmal and Mayapán arrived, they found the city completely empty, which unleashed their fury, to then set fire to this beautiful city and leave it abandoned as we see it today.

FacebookTwitterInstagramLinkedInGoodreadsThe Rituals & Traditions Surrounding Canek & Sac Nicte’s Ancient Love TaleThe Mythology of Canek and Sac Nicte: An Ancient Mayan Love Story

As you can see, love plays with timelessness, being a force that lasts as long as the solid rock of the places where these Mayan legends had life.

Canek and Sac Nicte’s ancient love tale is one of the most iconic stories in Mayan culture. It is a story that is steeped in rich traditions and rituals, from the traditional wedding rituals to fertility rites.

This ancient love tale has been passed down through generations, and its rituals are still practiced today in some parts of Mesoamerica. The traditional wedding rituals involve elaborate ceremonies, feasts and offerings to the gods. Additionally, fertility rites such as planting crops or performing dances are also part of the tradition.

How Can You Celebrate the Epic Love Story of Canek & Sac Nicte?

Canek and Sac Nicte is a timeless love story that has been passed down for generations. It is the story of two lovers who, despite all odds, stayed true to each other until their last breath. This epic tale of love and devotion has been inspiring people for centuries and it still continues to do so today.

Thank you for visiting with us. For more poetry or Literature related content, visit our blog at The Ritual.

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20 of The Most Unknown Ancient Mayan Legends (Part 1)

An Overview of the Ancient Mayan Civilization and Their Legends

The ancient Mayan civilization is one of the most fascinating and mysterious civilizations in world history. It was a highly advanced culture that left behind many impressive structures and artifacts, as well as rich mythology and legends. The Mayan people were also known for their strong spiritual beliefs, which included rituals, ceremonies, and astrological knowledge.

The 20 Most Unknown Ancient Mayan Legends and What They Reveal About this Advanced Culture

The ancient Mayans were a highly advanced civilization that left behind a wealth of mysterious stories and legends. From forgotten tales of their gods to secrets of the underworld, these stories tell us about the beliefs and culture of these ancient people. In this article, we will explore some of the most unknown Mayan legends and what they reveal about this advanced culture.

Dziú and corn: The legend centers on Dziú, a bird that was recognized for its bravery. By responding to the orders of Yuum Chaac, the God of rain, he risked his life to save a corn seed from a burning field, since this seed was considered essential for life. As a result of having entered the fire, Dziú was left with red eyes and a gray body.El Chom: The legend tells the story of the birds called Chom and the punishment imposed on them by the King of Uxmal. The Chom were birds with colored plumage that flew over the king’s palace at the time of the celebration held by him to honor the Lord of Life, Hunab Ku. The Choms ate the food that the king had prepared for the occasion. Uxmal ordered a punishment for them and it was a group of priests took charge of carrying it out.The Princess and the Maquech: This legend recounts a love oath between Princess Cuzán and her lover Chalpol, a young man with red hair. Princess Cuzán agrees to marry Prince EK Chapat, following his father’s orders. Her father would kill the princess’s lover, Chalpol but the princess promises to stop seeing him in exchange for them keeping him alive. The princess’s father spares Chalpol’s life but, through a sorcerer, turns him into a marquee, a beetle. Princess Cuzán carries it close to her heart, like the most precious jewel, fulfilling the promise of love that they had made.The Flower of May: This legend tells the story of a girl, the daughter of a devotee who could not have children, and how she asks the gods to give her the opportunity to be a father. He observed the beauty of the stars, particularly the Southern Cross, during the time of the month of May. It is at this time that his wife gives birth to their daughter. But she dies in her teens at the same time she was born. Every May, when the Southern Cross illuminates her tomb, the Mayflower appears at the foot of it.The Uay Goat: The Uay Goat legend refers to a sorcerer represented as a black entity, with bright eyes and large horns. Its mission is to scare those who appear in its path at night. According to this belief, there are demonized people who have the ability to become a goat to scare the population and/or fulfill some objective of evil origin.Xkeban and Utz Cole: This legend is about two women, Xkeban who practiced prostitution but was humble and kind to the poor and genuinely gave herself to love. And Utz Cole who said she was virtuous and honest. When Xkeban died, a beautiful aroma of flower perfume was smelled in the city. After burying her, flowers with this characteristic appeared on her grave. Which they called Xtabentún. A wildflower with intoxicating nectar like the love of Xkeban.Che Uinic: This myth is about the man of the woods, a giant who has supernatural powers and eats human flesh, so he is to be feared. He is described as a boneless man with backward feet. That is, their fingers point toward his back. For this reason, he uses a trunk as a cane. To get rid of him in his presence, you have to perform a dance with branches, as this amuses him by making him fall.Alux: Alux is called the goblin or elf who steals children. He usually plays most of the time and sometimes does things of diabolical origin. The myth about Alux and other goblins holds that they are invisible but can make themselves visible in order to scare people. They are associated with places such as forests and caves and often travel in search of offerings. It is believed that by invoking them, the peasants will achieve seven years of good harvest and protection for their fields, for what they do inside them, what is called the house of the alux or kahtal alux. Uay: Legend has it that the Uay is a magician or sorcerer who performs enchantment phenomena inherent to black magic. It has a ghostly character that adopts different forms of animals to achieve its evil goals.Sac Nicté and Canek: Canek was a prince of Chichen Itza. 21 years old, brave, and with a good heart, he falls in love with Sac Nicté, a 15-year-old princess. But she had to marry Ulil, the crown prince of Uxmal. Canek went to look for her with his warriors on her wedding day, ready to fight for her. He snatches her from the arms of the witnesses and war breaks out between his army and Uli. Canek emigrates with the princess and all her people, so when the people of Uxmal go to Chichen Itza to claim her, the city is empty.

Make sure to follow us to be updated with Part 2 of this list.

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“Helltown”- Exploring the Latest Adaptation of Kurt Vonnegut’s Experience With a Serial Killer

What is the New Movie ‘Helltown’ Based On?

Can you imagine Kurt Vonnegut portrayed as handsome, or even sexy? Welp, the new series Helltown plans to deliver. Oscar Isaac is going to star in a new crime thriller series for Amazon Studios titled Helltown. The project is based on the book written by Casey Sherman, and it’s being developed by Severance co-executive producer Mohamad El Masri, who will also serve as showrunner and writer.

The hour-long, eight-episode series follows the life of Kurt Vonnegut before he became known to the world as a renowned author. “In 1969 Kurt was a struggling novelist and car salesman living life with his wife and five children on Cape Cod. When two women disappear and are later discovered murdered underneath the sand dunes on the outskirts of Provincetown, Kurt becomes obsessed and embroiled in the chilling hunt for a serial killer and forms a dangerous bond with the prime suspect.”

There’s a lot of great talent involved with this project with Severance being a huge hit for Apple and All Quiet on the Western Front coming off four Oscar wins including best international feature film, best production design, best original score, and best cinematography.

Cast & Crew Behind the Making of ‘Helltown’: Who is Involved?

In 1969, Kurt Vonnegut was deeply intrigued by the disappearance & the murder of two women in Provincetown, causing him to draw close to the prime suspect and form a perilous relationship.

In addition to Robert and Susan Downey’s Team Downey production house, Amanda Burrell and Oscar Isaac will also be executive producers. All four of them are expected to make a great creative combination.

Oscar Isaac in “Helltown”

Isaac truly deserves a chance to demonstrate his acting prowess with this project. It’s the perfect platform for him to show off his talent and shine!

Oscar Isaac, who is popularly known for his spellbinding short roles, is said to be in talks to portray the young Kurt Vonnegut in the upcoming 8-episode crime thriller Helltown.

As reported by Variety yesterday:

Helltown centers on Kurt Vonnegut (Isaac) before he was a renowned author and cultural lightning rod. In 1969 Kurt was a struggling novelist and car salesman living life with his wife and five children on Cape Cod. Shockingly, two women have vanished and are discovered dead beneath the sand dunes near Provincetown. This stirs up Kurt’s curiosity, driving him to investigate a serial killer and link up with the primary suspect in an incredibly dangerous manner.

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Based on Casey Sherman’s 2022 book of the same name, “Helltown,” the series will be shown by Mohamad El Masri (Severance) and produced by All Quiet on the Western Front director Ed Berger.

If talks prove successful, Moon Knight’s star will be added to the distinguished group of outrageously attractive men who have portrayed writers with normal or unfortunate looks.

Other members of the order include Jude Law, who played Thomas Wolfe in Genius; Joseph Fiennes, who played William Shakespeare in Shakespeare in Love; Javier Bardem, who played Ramón Sampedro in The Sea Inside; Matt Dillon, who played Charles Bukowski in Factotum; Tom Hiddleston, who played F. Scott Fitzgerald in Midnight in Paris; and, of course, Daniel Radcliffe, who played Allen Ginsberg in Kill Your Darlings.

Helltown: The Untold Story of a Serial Killer on Cape Cod

The year 1969: The hippie scene is vibrant in Provincetown, Massachusetts. Long-haired teenagers roam the streets, strumming guitars and preaching about peace and love…and Tony Costa is at the center of it all. To a certain group of smitten young women, he is known as Sire—the leader of their counterculture movement, the charming man who speaks eloquently and hands out hallucinogenic drugs like candy. But beneath his benign persona lies a twisted and uncontrollable rage that threatens to break loose at any moment. Tony Costa is the most dangerous man on Cape Cod, and no one who crosses his path is safe.  

When young women begin to disappear, Costa’s natural charisma and good looks initially protect him from suspicion. But as the bodies are discovered, the police close in on him as the key suspect. Meanwhile, local writers Kurt Vonnegut and Norman Mailer are locked in a desperate race to secure their legacies as great literary icons—and they both set their sights on Tony Costa and the drug-soaked hippie culture that he embodies as their next promising subject, launching independent investigations that stoke the competitive fires between two of the greatest American writers.  

Immersive, unflinching, and shocking, Helltown is a landmark true-crime narrative that transports us back to the turbulent late 1960s, reveals the secrets of a notorious serial killer, and unspools the threads connecting Costa, Vonnegut, and Mailer in the seaside city that played host to horrors unlike any ever seen before. New York Times best-selling author Casey Sherman has crafted a stunner.

Thank you for visiting with us. For more poetry or Literature related content, visit our blog at The Ritual.

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La Siguanaba: Exploring the Mythology of Central America.

What is La Siguanaba and Where Does She Come From?

La Siguanaba is a mysterious figure from Central American mythology. She has become a popular figure in Mesoamerican folklore, with stories of her appearing in many countries. Her legend has been told for centuries, and her influence can still be felt today. But who is La Siguanaba? Where did she come from? What are the stories that surround her? In this article, we will explore these questions and more as we take a closer look at the mysterious figure of La Siguanaba.

There is some debate concerning the origin of the figure of La Siguanaba. Some believe that she is an ancient Mesoamerican deity and others believe that her legend has been told through different cultures and has reached a point in time where one culture simply fuses its beliefs with those from a different time period. But whatever her origin may be, the story of La Siguanaba cannot be denied for having deep roots in Central American mythology.

What we do know is that she was said to have been born from an egg, and during pregnancy, she would eat snakes instead of food. Her mother would hide her under a pile of corn and soon after birth, she would devour all snakes hiding under the stack. She was then said to have gone on to become a human-eating monster that terrorized everyone in the region until she met an Indian man who tamed her and taught her how to behave as an animal instead of a human.

And this is the baseline for the short fiction work called La Siguanaba, written by Willy Martinez.

FacebookTwitterInstagramLinkedInGoodreadsExploring the Origins of La Siguanaba’s Mythology & Legends

La Siguanaba

The legend of La Siguanaba is deeply rooted in the mythology and folklore of Central America. It has been told for centuries and has evolved over time, taking on different forms depending on the culture that tells it.

The myth of La Siguanaba is steeped in ancient Mayan mythology, with stories about a beautiful woman wearing a white dress who appears at night to unsuspecting travelers or those who have done wrong. The legend has been passed down through generations, with each culture adding unique elements to the story.

The Symbology Behind the Mysterious Figure of La SiguanabaLa Sigaunaba art by Willy Martinez

La Siguanaba is a mysterious figure in Central American folklore that has captured the imagination of many. She is a supernatural woman figure who appears to men in the night, often with a beautiful face and long hair, but hides her proper form behind it.

The figure of La Siguanaba has been shrouded in mystery for centuries, and her story has been passed down through generations. Many believe that she is a dark female figure who brings bad luck to those who cross her path. However, there may be more to this mysterious figure than meets the eye – some say that she carries powerful symbols of transformation and power.

Thank you for visiting with us. For more poetry or Literature related content, visit our blog at The Ritual.

Nice to meet you.

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Uncover the Secrets of La Siguanaba: Exploring the Mythology of Central America.

What is La Siguanaba and Where Does She Come From?

La Siguanaba is a mysterious figure from Central American mythology. She has become a popular figure in Mesoamerican folklore, with stories of her appearing in many countries. Her legend has been told for centuries, and her influence can still be felt today. But who is La Siguanaba? Where did she come from? What are the stories that surround her? In this article, we will explore these questions and more as we take a closer look at the mysterious figure of La Siguanaba.

There is some debate concerning the origin of the figure of La Siguanaba. Some believe that she is an ancient Mesoamerican deity and others believe that her legend has been told through different cultures and has reached a point in time where one culture simply fuses its beliefs with those from a different time period. But whatever her origin may be, the story of La Siguanaba cannot be denied for having deep roots in Central American mythology.

What we do know is that she was said to have been born from an egg, and during pregnancy, she would eat snakes instead of food. Her mother would hide her under a pile of corn and soon after birth, she would devour all snakes hiding under the stack. She was then said to have gone on to become a human-eating monster that terrorized everyone in the region until she met an Indian man who tamed her and taught her how to behave as an animal instead of a human.

And this is the baseline for the short fiction work called La Siguanaba, written by Willy Martinez.

FacebookTwitterInstagramLinkedInGoodreadsExploring the Origins of La Siguanaba’s Mythology & Legends

La Siguanaba

The legend of La Siguanaba is deeply rooted in the mythology and folklore of Central America. It has been told for centuries and has evolved over time, taking on different forms depending on the culture that tells it.

The myth of La Siguanaba is steeped in ancient Mayan mythology, with stories about a beautiful woman wearing a white dress who appears at night to unsuspecting travelers or those who have done wrong. The legend has been passed down through generations, with each culture adding unique elements to the story.

The Symbology Behind the Mysterious Figure of La SiguanabaLa Sigaunaba art by Willy Martinez

La Siguanaba is a mysterious figure in Central American folklore that has captured the imagination of many. She is a supernatural woman figure who appears to men in the night, often with a beautiful face and long hair, but hides her proper form behind it.

The figure of La Siguanaba has been shrouded in mystery for centuries, and her story has been passed down through generations. Many believe that she is a dark female figure who brings bad luck to those who cross her path. However, there may be more to this mysterious figure than meets the eye – some say that she carries powerful symbols of transformation and power.

Thank you for visiting with us. For more poetry or Literature related content, visit our blog at The Ritual.

Nice to meet you.

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Manifesting: Flash Fiction for Growth

He stood there in the mist, just a few feet away from the barbed wire fence and beat-up wooden posts. On the post directly in front of him rests a large black crow staring back at him with its head cocked. But the man stares at nothing. The black crow is as irrelevant as the mist blocking his view.

Because he thinks of nothing and wants nothing, nothing can harm him. Aware of what this omen suggests, he collects the energy around him and transforms it into energies of manifestation. Only when the mind is clear can the practitioner make the transformation.

When the man comes to, his eyes shift down and to the left, to the crow.

“My soul is ready to live the life of my dreams,” says the crow.

“Is yours?” it asks rhetorically as it immediately turns around and flies off into the mist at the flitter of an eyelid.

If you enjoyed “Manifesting,” written by Willy Martinez, you might probably enjoy our other literary content at The Ritual.

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