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Books of Blood #4
The Inhuman Condition
A master storyteller and unrivaled visionary, Clive Barker has mixed the real and unreal with the horrible and wonderful in more than twenty years of fantastic fiction. The Inhuman Condition is a masterwork of surrealistic terror, recounting tragedy with pragmatism, inspiring panic more than dread and evoking equal parts revulsion and delight.
180 pages, Paperback
First published June 1, 1985
239 people are currently reading
6437 people want to read
About the author
Clive Barker
706 books15.2k followersClive Barker was born in Liverpool, England, the son of Joan Rubie (née Revill), a painter and school welfare officer, and Leonard Barker, a personnel director for an industrial relations firm. Educated at Dovedale Primary School and Quarry Bank High School, he studied English and Philosophy at Liverpool University and his picture now hangs in the entrance hallway to the Philosophy Department. It was in Liverpool in 1975 that he met his first partner, John Gregson, with whom he lived until 1986. Barker's second long-term relationship, with photographer David Armstrong, ended in 2009.
In 2003, Clive Barker received The Davidson/Valentini Award at the 15th GLAAD Media Awards. This award is presented "to an openly lesbian, gay, bisexual or transgender individual who has made a significant difference in promoting equal rights for any of those communities". While Barker is critical of organized religion, he has stated that he is a believer in both God and the afterlife, and that the Bible influences his work.
Fans have noticed of late that Barker's voice has become gravelly and coarse. He says in a December 2008 online interview that this is due to polyps in his throat which were so severe that a doctor told him he was taking in ten percent of the air he was supposed to have been getting. He has had two surgeries to remove them and believes his resultant voice is an improvement over how it was prior to the surgeries. He said he did not have cancer and has given up cigars. On August 27, 2010, Barker underwent surgery yet again to remove new polyp growths from his throat. In early February 2012 Barker fell into a coma after a dentist visit led to blood poisoning. Barker remained in a coma for eleven days but eventually came out of it. Fans were notified on his Twitter page about some of the experience and that Barker was recovering after the ordeal, but left with many strange visions.
Barker is one of the leading authors of contemporary horror/fantasy, writing in the horror genre early in his career, mostly in the form of short stories (collected in Books of Blood 1 – 6), and the Faustian novel The Damnation Game (1985). Later he moved towards modern-day fantasy and urban fantasy with horror elements in Weaveworld (1987), The Great and Secret Show (1989), the world-spanning Imajica (1991) and Sacrament (1996), bringing in the deeper, richer concepts of reality, the nature of the mind and dreams, and the power of words and memories.
Barker has a keen interest in movie production, although his films have received mixed receptions. He wrote the screenplays for Underworld (aka Transmutations – 1985) and Rawhead Rex (1986), both directed by George Pavlou. Displeased by how his material was handled, he moved to directing with Hellraiser (1987), based on his novella The Hellbound Heart. His early movies, the shorts The Forbidden and Salome, are experimental art movies with surrealist elements, which have been re-released together to moderate critical acclaim. After his film Nightbreed (Cabal), which was widely considered to be a flop, Barker returned to write and direct Lord of Illusions. Barker was an executive producer of the film Gods and Monsters, which received major critical acclaim.
Barker is a prolific visual artist working in a variety of media, often illustrating his own books. His paintings have been seen first on the covers of his official fan club magazine, Dread, published by Fantaco in the early Nineties, as well on the covers of the collections of his plays, Incarnations (1995) and Forms of Heaven (1996), as well as on the second printing of the original UK publications of his Books of Blood series.
A longtime comics fan, Barker achieved his dream of publishing his own superhero books when Marvel Comics launched the Razorline imprint in 1993. Based on detailed premises, titles and lead characters he created specifically for this, the four interrelated titles — set outside the Marvel universe — were Ectokid,
In 2003, Clive Barker received The Davidson/Valentini Award at the 15th GLAAD Media Awards. This award is presented "to an openly lesbian, gay, bisexual or transgender individual who has made a significant difference in promoting equal rights for any of those communities". While Barker is critical of organized religion, he has stated that he is a believer in both God and the afterlife, and that the Bible influences his work.
Fans have noticed of late that Barker's voice has become gravelly and coarse. He says in a December 2008 online interview that this is due to polyps in his throat which were so severe that a doctor told him he was taking in ten percent of the air he was supposed to have been getting. He has had two surgeries to remove them and believes his resultant voice is an improvement over how it was prior to the surgeries. He said he did not have cancer and has given up cigars. On August 27, 2010, Barker underwent surgery yet again to remove new polyp growths from his throat. In early February 2012 Barker fell into a coma after a dentist visit led to blood poisoning. Barker remained in a coma for eleven days but eventually came out of it. Fans were notified on his Twitter page about some of the experience and that Barker was recovering after the ordeal, but left with many strange visions.
Barker is one of the leading authors of contemporary horror/fantasy, writing in the horror genre early in his career, mostly in the form of short stories (collected in Books of Blood 1 – 6), and the Faustian novel The Damnation Game (1985). Later he moved towards modern-day fantasy and urban fantasy with horror elements in Weaveworld (1987), The Great and Secret Show (1989), the world-spanning Imajica (1991) and Sacrament (1996), bringing in the deeper, richer concepts of reality, the nature of the mind and dreams, and the power of words and memories.
Barker has a keen interest in movie production, although his films have received mixed receptions. He wrote the screenplays for Underworld (aka Transmutations – 1985) and Rawhead Rex (1986), both directed by George Pavlou. Displeased by how his material was handled, he moved to directing with Hellraiser (1987), based on his novella The Hellbound Heart. His early movies, the shorts The Forbidden and Salome, are experimental art movies with surrealist elements, which have been re-released together to moderate critical acclaim. After his film Nightbreed (Cabal), which was widely considered to be a flop, Barker returned to write and direct Lord of Illusions. Barker was an executive producer of the film Gods and Monsters, which received major critical acclaim.
Barker is a prolific visual artist working in a variety of media, often illustrating his own books. His paintings have been seen first on the covers of his official fan club magazine, Dread, published by Fantaco in the early Nineties, as well on the covers of the collections of his plays, Incarnations (1995) and Forms of Heaven (1996), as well as on the second printing of the original UK publications of his Books of Blood series.
A longtime comics fan, Barker achieved his dream of publishing his own superhero books when Marvel Comics launched the Razorline imprint in 1993. Based on detailed premises, titles and lead characters he created specifically for this, the four interrelated titles — set outside the Marvel universe — were Ectokid,
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Displaying 1 - 30 of 341 reviews
July 17, 2020
There has been a Clive Barker overload lately, and though it is not unpleasant I have chosen to come back to him later... er, read the stuff I still have not. He is a re-visitable auteur.
"Books of Blood" were published in the U.K. in the 80s and now we have "In the Flesh" and this, "The Inhuman Condition" which are the same book published under different names in different collections. There are five chilling tales here, and though none captured me the way "The Forbidden" did (ok, I keep mentioning it... but it is that GOOD! Read it if you haven't!), most were whimsical & creative enough to keep me interested.
The sexual overtones here are amplified. Hands, symbols of many things sexual and even paternal, have lives of their own and try to overthrow their appendages (i.e. their human hosts). This territory has been treaded upon before, the hands becoming aware that they are stuck to bigger things that control them, and there is something super macabre about the body's innate self-awareness. The body politic is something every human can relate to, and when the hands chop off their partners and they both scatter away like roaches... invading everything, sticking like spiders to trees and buildings... well, that image is SOO NEAT! Also there are stories here about ghosts making love with humans in hotels (the desolate, vacant stage is perfect for a ghost story!), killer ropes, satanic real estate, killer hyperperverts etc. Barker tells his stuff in elegant prose, using leitmotifs as cameos only (not taking stuff too literally), as sly touches to seriously-scary scenarios. It's no wonder that the detective who seeks to capture the sexual deviant is, himself, a lush for a good cup of hot chocolate...
"Books of Blood" were published in the U.K. in the 80s and now we have "In the Flesh" and this, "The Inhuman Condition" which are the same book published under different names in different collections. There are five chilling tales here, and though none captured me the way "The Forbidden" did (ok, I keep mentioning it... but it is that GOOD! Read it if you haven't!), most were whimsical & creative enough to keep me interested.
The sexual overtones here are amplified. Hands, symbols of many things sexual and even paternal, have lives of their own and try to overthrow their appendages (i.e. their human hosts). This territory has been treaded upon before, the hands becoming aware that they are stuck to bigger things that control them, and there is something super macabre about the body's innate self-awareness. The body politic is something every human can relate to, and when the hands chop off their partners and they both scatter away like roaches... invading everything, sticking like spiders to trees and buildings... well, that image is SOO NEAT! Also there are stories here about ghosts making love with humans in hotels (the desolate, vacant stage is perfect for a ghost story!), killer ropes, satanic real estate, killer hyperperverts etc. Barker tells his stuff in elegant prose, using leitmotifs as cameos only (not taking stuff too literally), as sly touches to seriously-scary scenarios. It's no wonder that the detective who seeks to capture the sexual deviant is, himself, a lush for a good cup of hot chocolate...
June 7, 2023
Para ser toda esta basta colección de relatos mi primera toma de contacto con el autor me llevo una buena impresión de él.
Ahora, fue bueno mientras duró y la verdad disfruté mucho de varias historias pero este cuarto y último volumen creo que es el peor entre todos los demás, ya que el desbalance que hay en las historias es terrible y no lo digo porque sean malas malísimas sino porque muchas de ellas pasan sin pena ni gloria y resultan demasiado convencionales. Nada nuevo debajo de la alfombra debido a que no proponen algo diferente o innovador.
🩸Promedio general: 3★
🩸En persona 4/5★
Para empezar la antología con este relato yo me imaginaba que el resto iba a tener una calidad buenísima. Pero no, lastimosamente creo que este es el mejor y la manera en que ejecuta ese tono oscuro, mórbido y fantástico es espeluznante y a veces se torna poético hacia el final y paradójico con el tema del purgatorio y las reencarnaciones. Y también hay una referencia al primer cuento del primer volumen que me pareció maravillosa.
🩸Los hijos de Babel 2/5★
A mí los relatos que tienen que ver con conspiraciones o ideas de un orden mundial secreto me dan pereza y no por malas, seguro que son buenas, pero aquí absolutamente nada sorprende, ni aterra, ni mantiene la tensión narrativa. Salí muy indiferente.
🩸La vida de la muerte 3/5★
Al principio estaba renuente, me parecía que no pasaba nada más allá de centrar a la protagonista en una especie de obsesión sobre la muerte. Ya luego las cosas toman un sentido más literal para ella y figurado para los lectores y eso lo vuelve más interesante. El final es bueno, creo que cierra muy pero que muy bien el concepto de la muerte y la idea que venía manejando.
🩸Cómo se desangran los expoliadores 3/5★
Europeos haciendo lo que les da la gana en tierras del continente americano y masacrando a nativos sin castigo alguno siempre se ha visto, al menos aquí sí que hay venganza por parte de los indígenas y eso me gusta. Aunque, no sobra decir que no es nada sorprendente y no tiene ningún punto de inflexión para generar sorpresa, es muy predecible.
🩸Crepúsculo en las torres 3/5★
A ver, es muy explotado por el autor el tema de "las bestias" por no decir otro nombre y hacer spoiler, sin embargo, no me resultó pesado y el final que tiene con ese tono bíblico me ha gustado. Le doy el pase, pero por los pelos.
🩸La última ilusión 2/5★
Para lo que cuenta es muy largo, y mira que yo sé muy bien que Barker es una de esas voces dentro del horror/terror que más suena por su amplio imaginario y capacidad de entregar algo diferente e innovar de alguna forma. Pero es que aquí, cero, no hubo un giro de tuerca ni absolutamente nada sorprendente. Es un relato olvidable como varios de los que he leído en este volumen y eso es bastante decepcionante.
🩸El libro de sangre (un post scríptum) 4/5★
Secuela directa de "El libro de sangre" que aparece y da inicio como prólogo en el primer volumen y a mí, este como conclusión me ha parecido un buen epílogo.
Y ya, menos mal que aquí se acaba esta aventura porque ya sentía que no daba para más, no había ideas revolucionarias o innovadoras.
Ahora, fue bueno mientras duró y la verdad disfruté mucho de varias historias pero este cuarto y último volumen creo que es el peor entre todos los demás, ya que el desbalance que hay en las historias es terrible y no lo digo porque sean malas malísimas sino porque muchas de ellas pasan sin pena ni gloria y resultan demasiado convencionales. Nada nuevo debajo de la alfombra debido a que no proponen algo diferente o innovador.
🩸Promedio general: 3★
🩸En persona 4/5★
Para empezar la antología con este relato yo me imaginaba que el resto iba a tener una calidad buenísima. Pero no, lastimosamente creo que este es el mejor y la manera en que ejecuta ese tono oscuro, mórbido y fantástico es espeluznante y a veces se torna poético hacia el final y paradójico con el tema del purgatorio y las reencarnaciones. Y también hay una referencia al primer cuento del primer volumen que me pareció maravillosa.
🩸Los hijos de Babel 2/5★
A mí los relatos que tienen que ver con conspiraciones o ideas de un orden mundial secreto me dan pereza y no por malas, seguro que son buenas, pero aquí absolutamente nada sorprende, ni aterra, ni mantiene la tensión narrativa. Salí muy indiferente.
🩸La vida de la muerte 3/5★
Al principio estaba renuente, me parecía que no pasaba nada más allá de centrar a la protagonista en una especie de obsesión sobre la muerte. Ya luego las cosas toman un sentido más literal para ella y figurado para los lectores y eso lo vuelve más interesante. El final es bueno, creo que cierra muy pero que muy bien el concepto de la muerte y la idea que venía manejando.
🩸Cómo se desangran los expoliadores 3/5★
Europeos haciendo lo que les da la gana en tierras del continente americano y masacrando a nativos sin castigo alguno siempre se ha visto, al menos aquí sí que hay venganza por parte de los indígenas y eso me gusta. Aunque, no sobra decir que no es nada sorprendente y no tiene ningún punto de inflexión para generar sorpresa, es muy predecible.
🩸Crepúsculo en las torres 3/5★
A ver, es muy explotado por el autor el tema de "las bestias" por no decir otro nombre y hacer spoiler, sin embargo, no me resultó pesado y el final que tiene con ese tono bíblico me ha gustado. Le doy el pase, pero por los pelos.
🩸La última ilusión 2/5★
Para lo que cuenta es muy largo, y mira que yo sé muy bien que Barker es una de esas voces dentro del horror/terror que más suena por su amplio imaginario y capacidad de entregar algo diferente e innovar de alguna forma. Pero es que aquí, cero, no hubo un giro de tuerca ni absolutamente nada sorprendente. Es un relato olvidable como varios de los que he leído en este volumen y eso es bastante decepcionante.
🩸El libro de sangre (un post scríptum) 4/5★
Secuela directa de "El libro de sangre" que aparece y da inicio como prólogo en el primer volumen y a mí, este como conclusión me ha parecido un buen epílogo.
Y ya, menos mal que aquí se acaba esta aventura porque ya sentía que no daba para más, no había ideas revolucionarias o innovadoras.
February 6, 2018
كليف باركر...أين سمعت هذا الاسم من قبل؟أين...أين؟ إذا كنت من عشاق الرعب، فلا بد أنك مررت في ذلك الدهليز على فلم Hellraiser، أو العائد من الجحيم، قصة الفلم من إبداع باركر...إن لم تكن شاهدته فعليك بذلك...
بدلا من التأرجح بين أحمد خالد توفيق وستيفن كنج، قررت الخوض أكثر في أدب الرعب والحصول على كل ماهو غريب ومخيف. وقعت عيناي على "كتب الدم" التي ستجدها في أي قائمة محترمة لأهم أعمال الرعب في القرن العشرين. تتألف المجموعة من ستة كتب تحتوي على قصص قصيرة متنوعة. هذا الكتاب-وهو الرابع في المجموعة- تم اختياره من بين البقية وفقا لتقييم الجودريدز.
خمسة قصص تتفاوت في الجودة ومستوى الرعب. اجرؤ على القول بأنها جميعا جيدة ومبتكرة إلى حد ما. وفيما يلي تلخيص لفكرة كل قصة وانطباعي عنها دون حرق للأحداث:
الحالة اللاإنسانية: ثلاثة فتيان مشاغبين يعتدون على متشرد، ويجدون عنده حبلا معقوداً بشكل يمثل تحدياً لأحدهم على حله. المشكلة ليست فقط في صعوبة حل العُقد وإنما في الشيء الذي يظهر كلما حللت عقدة. القصة مقبّضة ومسلية، ستعجبك أن كنت من هواة المسوخ، أعني من هواة قصص المسوخ طبعاً.
سياسة الجسد: هلوسة سخيفة حد الفظاعة! ماذا لو قررت يداك التحرر من جسدك والانتقام منك ثم تحرير أيد أخرى لتنتقم؟ قصة رغم أنها تعج بمشاهد العنف إلا أنها تثير فضولك وتجد فيها اسقاطا على الواقع.
عصر الرغبة: أكثرها ابتكاراً وأبعدها عن الرعب التقليدي: ماذا لو وصلت الرغبة الجسدية في الإنسان إلى حد لانهاية له؟ يتطوع أحد الشبان لإجراء تجربة تحاول ضخ شهوة لاحد لها في جسد البشر. مالنتيجة؟ لن يتوقف الأمر عند الاغتصابات المتكررة بل هو أدهى من ذلك. أذهلتني قدرة باركر على تصوير شعور الشاب ورغباته الفوق إنسانية، قد تذكرك القصة بأيام المراهقة في أوجها...مضروبة بألف ضعف طبعاً.
فليسقط الشيطان: حكاية مقتضبة عن ثري يريد أن يقابل الشيطان ليستدل به على وجود الإله. يتفتق ذهن الرجل عن فكرة تشييد صرح يشبه جهنم ليغري الشيطان بزيارته. لا بأس بها وإن وجدتها أضعف مافي المجموعة.
الوحي: أقرب القصص لعوالم ستيفن كنج حيث المناوشات الضارية بين زوجين تقودهما إلى (موتيل) مسكون. في التوقيت ذاته يتصادف وجود رجل الدين المتشدد مع زوجته التي ملت من حياتهما المرهقة ولكنها لم تعرف ذلك حتى تلك اللحظة. الوحي هي كناية عن أنك يمكن أن تعيش عمراً تخدع فيه نفسك من حيث أنك لم تطرح على ذاتك اسئلة كافية تخص حياتك. في الحقيقة القصة لا تقول ذلك على وجه صريح، وإنما هي قصة أشباح درامية/عاطفية جيدة المستوى. لربما أنا استخلصت تلك العبرة لأنني دائما مسكون بذلك الهاجس: ألا أطرح على نفسي اسئلة كافية فيما يخص حياتي، فأكتشف في الفصل الأخير بأنني اسأت فهمها وبذّرْت الحياة الوحيدة التي وهبت لي.
سأكمل الجزئين التاليين -الكتاب الخامس والسادس- الموجودان في نفس المجلد وأعود لكتابة انطباعاتي.
بدلا من التأرجح بين أحمد خالد توفيق وستيفن كنج، قررت الخوض أكثر في أدب الرعب والحصول على كل ماهو غريب ومخيف. وقعت عيناي على "كتب الدم" التي ستجدها في أي قائمة محترمة لأهم أعمال الرعب في القرن العشرين. تتألف المجموعة من ستة كتب تحتوي على قصص قصيرة متنوعة. هذا الكتاب-وهو الرابع في المجموعة- تم اختياره من بين البقية وفقا لتقييم الجودريدز.
خمسة قصص تتفاوت في الجودة ومستوى الرعب. اجرؤ على القول بأنها جميعا جيدة ومبتكرة إلى حد ما. وفيما يلي تلخيص لفكرة كل قصة وانطباعي عنها دون حرق للأحداث:
الحالة اللاإنسانية: ثلاثة فتيان مشاغبين يعتدون على متشرد، ويجدون عنده حبلا معقوداً بشكل يمثل تحدياً لأحدهم على حله. المشكلة ليست فقط في صعوبة حل العُقد وإنما في الشيء الذي يظهر كلما حللت عقدة. القصة مقبّضة ومسلية، ستعجبك أن كنت من هواة المسوخ، أعني من هواة قصص المسوخ طبعاً.
سياسة الجسد: هلوسة سخيفة حد الفظاعة! ماذا لو قررت يداك التحرر من جسدك والانتقام منك ثم تحرير أيد أخرى لتنتقم؟ قصة رغم أنها تعج بمشاهد العنف إلا أنها تثير فضولك وتجد فيها اسقاطا على الواقع.
عصر الرغبة: أكثرها ابتكاراً وأبعدها عن الرعب التقليدي: ماذا لو وصلت الرغبة الجسدية في الإنسان إلى حد لانهاية له؟ يتطوع أحد الشبان لإجراء تجربة تحاول ضخ شهوة لاحد لها في جسد البشر. مالنتيجة؟ لن يتوقف الأمر عند الاغتصابات المتكررة بل هو أدهى من ذلك. أذهلتني قدرة باركر على تصوير شعور الشاب ورغباته الفوق إنسانية، قد تذكرك القصة بأيام المراهقة في أوجها...مضروبة بألف ضعف طبعاً.
فليسقط الشيطان: حكاية مقتضبة عن ثري يريد أن يقابل الشيطان ليستدل به على وجود الإله. يتفتق ذهن الرجل عن فكرة تشييد صرح يشبه جهنم ليغري الشيطان بزيارته. لا بأس بها وإن وجدتها أضعف مافي المجموعة.
الوحي: أقرب القصص لعوالم ستيفن كنج حيث المناوشات الضارية بين زوجين تقودهما إلى (موتيل) مسكون. في التوقيت ذاته يتصادف وجود رجل الدين المتشدد مع زوجته التي ملت من حياتهما المرهقة ولكنها لم تعرف ذلك حتى تلك اللحظة. الوحي هي كناية عن أنك يمكن أن تعيش عمراً تخدع فيه نفسك من حيث أنك لم تطرح على ذاتك اسئلة كافية تخص حياتك. في الحقيقة القصة لا تقول ذلك على وجه صريح، وإنما هي قصة أشباح درامية/عاطفية جيدة المستوى. لربما أنا استخلصت تلك العبرة لأنني دائما مسكون بذلك الهاجس: ألا أطرح على نفسي اسئلة كافية فيما يخص حياتي، فأكتشف في الفصل الأخير بأنني اسأت فهمها وبذّرْت الحياة الوحيدة التي وهبت لي.
سأكمل الجزئين التاليين -الكتاب الخامس والسادس- الموجودان في نفس المجلد وأعود لكتابة انطباعاتي.
February 16, 2020
Otkrovenje
Sjajna priča - o kojoj bih mogao da pišem do sutra, ali ću videti da skratim na neku normalu - kako na planu forme, tako i na planu sadržaja, ideja koje se provlače kroz tekst. Barker u ovoj, bolje nego u prethodnoj priči, obrće kliše, žanrovske postulate, što se rezultatski ispoljava u jedan zanimljiv, dosetljiv, inovativan narativ o duhovima koji sami po sebi nisu pretnja, Drugost koja ugrožava, već prosto nematerijalna bića koja imaju svoje ciljeve, želje, osećanja, mane - karakterne osobine. Umesto ukletog mesta, prostor dešavanja je hotel koji duhovi, poput živih, posećuju. Oni tu nisu došli kako bi uzurpirali, plašili, ukazivali na svoje postojanje, već kako bi razmotrili greške koje su za života počinili. Klajv u tom činu subverzije opštih narativa ide i korak dalje, te jedan od duhova oseća zazor, prezir prema živima - zbog čega ih izbegava - dok je drugi zaintrigiran svojim “susedima”, njihovim problemima. Umesto da im, kao po običaju, odmaže, taj duh zapravo pomaže živoj osobi s kojom se saoseća.
Osim toga, autora treba pohvaliti i zbog samog narativnog postupka, odnosno zbog toga što odlično kontroliše više narativnih tokova koji se na početku direktno, topografski prepliću, premda ne pripadaju istoj dimenziji. Smestivši ih u istu sobu, ali ne i dimenziju, Barker susreće, sjedinjava svet živih i mrtvih kako bi tematizovao, kritikovao patrijarhalno, retrogradno ustrojstvo i time ukazao na mane, slabosti, nedostatke rodnih, ali ne i polnih, uloga. Drugost, kao glavni element horora, ne ispoljava se kroz metafizičku pojavnost duhova, već kroz metaforičke “duhove” prošlosti - društvenih ustrojstva koji nas i dalje opsedaju.
Priča poseduje gotovo apokaliptični uvod sa opisima tornada koji su u saglasju sa stravom koja će izbiti, kao i sa profesijom jednog od likova. Propovednik Gvajer – osoba koja, u svetu koji je po njegovim shvatanjima ogrezao u grehu, vidi sebe kao figuru spasitelja, moralne gromade koja treba da upozorava i kažnjava grešnike, te čak i kada na prvi pogled savetuje, on zapravo vrši pasivnu agresiju, iskazujući performativ koji u njegovoj glavi zvuči kao dobronamerni savet - s suprugom Virdžinijom i pomoćnikom putuje ka hotelu kako bi prenoćili i odmorili do njegove naredne službe, mise koju treba da obavi. Tu se već pojavljuje statični motiv sna, neprijatnih, košmarnih vizija Virdžinije. Čak i kada uspe da utone u san, iako i sa tim ima problem, njeno nesvesno ne prikazuje lepe prizore, već slike bure, vetra koji nosi sve pred sobom; snove o gušenju. Oba opisana sna imaju funkciju u samom narativu, s tim da jedan direktno iskazuje njeno emotivno stanje, dok je drugi delimična vizija onoga što se davno dogodilo.
Ugušena u patrijarhalnom odnosu; svedena na ulogu pomoćnice, pratilje koja životari uz stav da bi joj bilo svejedno čak i ako bi čitav svet nestao u jednom danu.
Premda su dugo zajedno i mogu da se “čitaju” bez izgovorenih reči, rečenica “Ni pola metara od nje, ali praktično milion kilometara daleko”, jeste ta koja zapravo na pravi način opisuje njihov odnos. Ta poslušnost, potčinjenost, paralelno se odigrava i u jednom i u drugom svetu, što Barkeru omogućava da poveže i uveže metafizički odvojene svetove.
S druge strane postojanja, nematerijalnog, pratimo davno preminuli par koji se nakon mnogo godina vraća na mesto koje je odredilo njihovu sudbinu. Njihovo postojanje, karakterne crte, simbolički se prikazuju u (su)odnosu sa svetom živih: s jedne strane imamo grešnika, varalicu, nasilnika po imenu Bak, koji izbegava i koji se grozi živih, dok Sejdi, devojka koja mu je presudila, ima potrebu da posmatra, a zatim i da indirektno interveniše kako bi pomogla živoj osobi sa kojom se saoseća. Od pomenutog ubistva, pa do ponovnog susreta na mestu zločina, prošlo je tačno tri decenije. No, i pored svih tih godina koje su prošle, ona spoznaje da vreme, ne samo da nije uticalo na prezir koji oseća prema ubijenom, već se ništa značajno nije poboljšalo, odmaklo od falocentričnog ustrojstva - poretka u svetu koji je davno napustila nakon smrtne presude. Tim postupkom, difuzijom vremena priče, ukazuje se na usud, repetativni ciklusu identičnog ugrožavanja ženskog roda. Sejdi je, metaforički i bukvalno, navikla na to da među živima bude nevidljiva, dok je Bak taj kog ne zanima da li će biti primećen, odnosno da li će neko biti uzrujan zbog njegove pojavnosti ili ne. Ta telesnost, (ne)materijalno postojanje i pojavnost odražava se i kroz bizarnu sliku njegove gotovo žive, i dalje vidljive rane, rupe od zadobijenog metka. Pored toga, zanimljiv, odličan detalj je i kognitivni trenutak kada dolazi do prvog susreta između sveta živih i mrtvih. Nije slučajno to što, tokom akta ponižavanja, gotovo silovanja( Virdžinijia kao fokalizator vidi “proždiranje” nedefinisane figure) Sejdi od strane Baka, Virdžinija po prvi put vidi osobe koje je do tog trenutka mogla samo da čuje. Tu dolazimo do pomenutih dinamičnih motiva pilula i pištolja, te ponovnom insistiranju na predmetnosti kao glavnom činiocu narativa. Pilule - koje Virdžinija krišom pije kako bi mogla da utone u san - izazivaju pometnju, haos koji će neminovno uslediti s obzirom na to da tokom klimaksa konačno dolazi do direktnog preplitanja tri narativna toka.
što se tiče pištolja, pravilo Čehovljeve puške u tekstu nije svedeno samo na to da isti mora da opali, već pomenuto oružje poseduje i simboličku, gotovo retroaktivnu vrednost. Nakon pojave pištolja, na scenu stupa i treći narativni tok, koji svoju ulogu dobija pri samom kraju. Isti je ujedno i onaj koji je odraz dobrog - bele strane muško-ženskih odnosa. Mlađi, novoformirani ljubavni par zadobija stigmu, grehovnu etiketu od strane nosioca konzervativnih vrednosti. Gvajer, kao osoba koja je daleko više simpatiše starozavetne od novozavetnih spisa, svog pomoćnika etiketira kao slugu sotone, dok njegovu devojku naziva kurvom sa “svojom smrdljivom posteljinom”. Za istu tu posteljinu pripovedač kaže da je “smrdela na svežinu i ljubav”.
Taj treći narativni tok, ljubavna veza između Lore i Erla, zapravo povezuje davnu prošlost sa dešavanjima u priči, te taj odnos ujedno zadobija uloga “žrtve” koja biva ugrožena, napadnuta od strane nedefinisane Drugosti. Sačuvani pištolj s kojim je pre tri decenije ubijen Bak ponovo dobija na važnosti: s jedne strane pruža Sejdi osećaj zaostavštine - spokojstvo da je ostavila konkretan trag budućim žrtvama poput nje - dok na drugom planu vrši funkciju ponovnog suočavanja sa drugošću, zlom koje ne može da kraja biti pobeđeno.
5 od 5
Doba žudnje
Priča koja poseduje najviše horora u konvencionalnom značenju te reči. Radi se o narativu o telesnim žudnjama koje poništavaju moralni kompas; o tome kako telesna požuda - koja se ne može obuzdati - u sebi nosi iskru, plamen zla. U krajnjoj lini, Barker u ovoj priči tematizuje, konotirajući frankenštajnovske dileme, (ne)etičku medicinsku proceduru i njene posledice.
Ko je gledao Srpski film, u ovoj priči može pronaći nekoliko sličnosti: pojedinac koji zbog materijalne nesigurnosti pristaje na sumnjiv eksperiment; dijabolični Eros kao dominantna figura naspram Tanatosa koji provejava u pozadini; ljubav u senci seksa; opštedruštvena dekadentnost itd.
Ispripovedana iz perspektive onoga ko zlo čini - premda se ne radi i onome ko je istinski kreator zla - i iz ugla onih koji pokušavaju da ga uhvate, autor ponovo razdvaja dva narativna toka do konačnog susreta izobličene Drugosti i “normalnosti” koja je istu stvorila, te je - i pojedinačno a pogotovo društveno - sklona tome da u dekadentnost zađe.
Požuda, strast, telesno zadovoljstvo, oduvek se simbolički povezuje sa vatrom, plamenom koji je u ovoj priči hiperbolisan do tačke ključanja - neizdrživog oseća sagorevanja kože.
Dok fabula, u drugoj polovini, ne dobije na značenju, pratimo niz bizarnih, nasilnih, telesno užasavajućih scena; prikaze pretučenih, izmučenih, silovanih tela. Ženski rod je u ovoj priči - koja se, u bukvalnom smislu te reči, bazira na falocentričnom poretku, muškom libidu koji unosi strah i trepet, nemir i nasilje – sveden na ulogu nevine žrtve. No, Barker ne bi bio Barker da ni tu nije izvršio malu izmenu, te za prvu žrtvu(scena koju ću u nastavku malo detaljnije obraditi) ni ne dobijamo pune informacije o tome kroz kakav je pakao prošla, dok je druga na vreme spasena torture. S druge strane, u tekstu je prisutan detaljan, eksplicitan akt homoseksualnog silovanja osobe koja je zbog svoje “ambicije” ili, bolje rečeno pohlepe, dospela u tu situaciju da postane žrtva.
Opšta dekadencija, moralni sunovrat izazvan kapitalističkim normama koje nalažu žudnju za uspehom po cenu prodaje tela, bića, sopstva – doba u kojem nema vremena za sentimentalnost. Novo doba je “doba žudnje” u kojem je telo postalo glavna roba.
Žrtva tuđih ambicija, više instance, postaje uzurpator prihvaćenog - normatizovanog ponašanja - lascivni predator koji, ne mogavši da se obuzda, vrši seriju silovanja, seksualni akt sa zidom, te ga čak i životinje, pa i voće, uzbuđuje. Pored toga, poseduje i nekontrolisanu potrebu da vadi ljudska srca. U tom kontekstu treba napomenuti i ironizujući, gotovo ponižavajući status ljubavi u ovoj priči. Jedan događaj, poglavlje, otvara ljubavna pesma na radiju koju osluškuje drogirani lik, nakon čega slede dva silovanja, te završni zaključak da su nakon svega “i dalje svirale ljubavne pesme”. Takođe, jedan od ironičnih, ciničnih komentara - nakon sagledavanja posledica seruma tj. toga u šta se životinje i ljudi pretvaraju – jeste da “ljubav ubija”. Sredstvo koje su doktori koristili neodoljivo podseća na kapitalizam, između ostalog i zbog toga što se ne rastvara, već se “hrani samim sobom”, što za posledicu ima “izdaju sopstvenog tela”.
Pomenuo bih još i sjajno osmišljenu, odlično napisanu suptilnu horor scenu. Znajući šta se ubijenoj žrtvi desilo, ali ne i kako, pratimo detektiva Džeroma, koji zahteva da se pusti snimak kako bi saznao ko je zapravo učinio pomenuti zločin. Dok se snimak vrti, dobijamo informacije koje dobijaju i sami likovi, odnosno ništa. Horor je u toj sceni usporen, sveden, nagovešten uz konstantno iščekivanje užasavajućeg čina. Kako vreme prolazi, pritisak raste sve do kulminacije koja zadobija antiklimaks – akt silovanja ostaje van fokusa tj. kamere su postavljene tako da se ni ne vidi šta se zapravo desilo, te horor koji se odigrava ostaje skriven od naših očiju.
4 od 5
O ostalim pričama na linku: https://pepeoreci.wordpress.com/2020/...
Sjajna priča - o kojoj bih mogao da pišem do sutra, ali ću videti da skratim na neku normalu - kako na planu forme, tako i na planu sadržaja, ideja koje se provlače kroz tekst. Barker u ovoj, bolje nego u prethodnoj priči, obrće kliše, žanrovske postulate, što se rezultatski ispoljava u jedan zanimljiv, dosetljiv, inovativan narativ o duhovima koji sami po sebi nisu pretnja, Drugost koja ugrožava, već prosto nematerijalna bića koja imaju svoje ciljeve, želje, osećanja, mane - karakterne osobine. Umesto ukletog mesta, prostor dešavanja je hotel koji duhovi, poput živih, posećuju. Oni tu nisu došli kako bi uzurpirali, plašili, ukazivali na svoje postojanje, već kako bi razmotrili greške koje su za života počinili. Klajv u tom činu subverzije opštih narativa ide i korak dalje, te jedan od duhova oseća zazor, prezir prema živima - zbog čega ih izbegava - dok je drugi zaintrigiran svojim “susedima”, njihovim problemima. Umesto da im, kao po običaju, odmaže, taj duh zapravo pomaže živoj osobi s kojom se saoseća.
Osim toga, autora treba pohvaliti i zbog samog narativnog postupka, odnosno zbog toga što odlično kontroliše više narativnih tokova koji se na početku direktno, topografski prepliću, premda ne pripadaju istoj dimenziji. Smestivši ih u istu sobu, ali ne i dimenziju, Barker susreće, sjedinjava svet živih i mrtvih kako bi tematizovao, kritikovao patrijarhalno, retrogradno ustrojstvo i time ukazao na mane, slabosti, nedostatke rodnih, ali ne i polnih, uloga. Drugost, kao glavni element horora, ne ispoljava se kroz metafizičku pojavnost duhova, već kroz metaforičke “duhove” prošlosti - društvenih ustrojstva koji nas i dalje opsedaju.
Priča poseduje gotovo apokaliptični uvod sa opisima tornada koji su u saglasju sa stravom koja će izbiti, kao i sa profesijom jednog od likova. Propovednik Gvajer – osoba koja, u svetu koji je po njegovim shvatanjima ogrezao u grehu, vidi sebe kao figuru spasitelja, moralne gromade koja treba da upozorava i kažnjava grešnike, te čak i kada na prvi pogled savetuje, on zapravo vrši pasivnu agresiju, iskazujući performativ koji u njegovoj glavi zvuči kao dobronamerni savet - s suprugom Virdžinijom i pomoćnikom putuje ka hotelu kako bi prenoćili i odmorili do njegove naredne službe, mise koju treba da obavi. Tu se već pojavljuje statični motiv sna, neprijatnih, košmarnih vizija Virdžinije. Čak i kada uspe da utone u san, iako i sa tim ima problem, njeno nesvesno ne prikazuje lepe prizore, već slike bure, vetra koji nosi sve pred sobom; snove o gušenju. Oba opisana sna imaju funkciju u samom narativu, s tim da jedan direktno iskazuje njeno emotivno stanje, dok je drugi delimična vizija onoga što se davno dogodilo.
Ugušena u patrijarhalnom odnosu; svedena na ulogu pomoćnice, pratilje koja životari uz stav da bi joj bilo svejedno čak i ako bi čitav svet nestao u jednom danu.
Premda su dugo zajedno i mogu da se “čitaju” bez izgovorenih reči, rečenica “Ni pola metara od nje, ali praktično milion kilometara daleko”, jeste ta koja zapravo na pravi način opisuje njihov odnos. Ta poslušnost, potčinjenost, paralelno se odigrava i u jednom i u drugom svetu, što Barkeru omogućava da poveže i uveže metafizički odvojene svetove.
S druge strane postojanja, nematerijalnog, pratimo davno preminuli par koji se nakon mnogo godina vraća na mesto koje je odredilo njihovu sudbinu. Njihovo postojanje, karakterne crte, simbolički se prikazuju u (su)odnosu sa svetom živih: s jedne strane imamo grešnika, varalicu, nasilnika po imenu Bak, koji izbegava i koji se grozi živih, dok Sejdi, devojka koja mu je presudila, ima potrebu da posmatra, a zatim i da indirektno interveniše kako bi pomogla živoj osobi sa kojom se saoseća. Od pomenutog ubistva, pa do ponovnog susreta na mestu zločina, prošlo je tačno tri decenije. No, i pored svih tih godina koje su prošle, ona spoznaje da vreme, ne samo da nije uticalo na prezir koji oseća prema ubijenom, već se ništa značajno nije poboljšalo, odmaklo od falocentričnog ustrojstva - poretka u svetu koji je davno napustila nakon smrtne presude. Tim postupkom, difuzijom vremena priče, ukazuje se na usud, repetativni ciklusu identičnog ugrožavanja ženskog roda. Sejdi je, metaforički i bukvalno, navikla na to da među živima bude nevidljiva, dok je Bak taj kog ne zanima da li će biti primećen, odnosno da li će neko biti uzrujan zbog njegove pojavnosti ili ne. Ta telesnost, (ne)materijalno postojanje i pojavnost odražava se i kroz bizarnu sliku njegove gotovo žive, i dalje vidljive rane, rupe od zadobijenog metka. Pored toga, zanimljiv, odličan detalj je i kognitivni trenutak kada dolazi do prvog susreta između sveta živih i mrtvih. Nije slučajno to što, tokom akta ponižavanja, gotovo silovanja( Virdžinijia kao fokalizator vidi “proždiranje” nedefinisane figure) Sejdi od strane Baka, Virdžinija po prvi put vidi osobe koje je do tog trenutka mogla samo da čuje. Tu dolazimo do pomenutih dinamičnih motiva pilula i pištolja, te ponovnom insistiranju na predmetnosti kao glavnom činiocu narativa. Pilule - koje Virdžinija krišom pije kako bi mogla da utone u san - izazivaju pometnju, haos koji će neminovno uslediti s obzirom na to da tokom klimaksa konačno dolazi do direktnog preplitanja tri narativna toka.
što se tiče pištolja, pravilo Čehovljeve puške u tekstu nije svedeno samo na to da isti mora da opali, već pomenuto oružje poseduje i simboličku, gotovo retroaktivnu vrednost. Nakon pojave pištolja, na scenu stupa i treći narativni tok, koji svoju ulogu dobija pri samom kraju. Isti je ujedno i onaj koji je odraz dobrog - bele strane muško-ženskih odnosa. Mlađi, novoformirani ljubavni par zadobija stigmu, grehovnu etiketu od strane nosioca konzervativnih vrednosti. Gvajer, kao osoba koja je daleko više simpatiše starozavetne od novozavetnih spisa, svog pomoćnika etiketira kao slugu sotone, dok njegovu devojku naziva kurvom sa “svojom smrdljivom posteljinom”. Za istu tu posteljinu pripovedač kaže da je “smrdela na svežinu i ljubav”.
Taj treći narativni tok, ljubavna veza između Lore i Erla, zapravo povezuje davnu prošlost sa dešavanjima u priči, te taj odnos ujedno zadobija uloga “žrtve” koja biva ugrožena, napadnuta od strane nedefinisane Drugosti. Sačuvani pištolj s kojim je pre tri decenije ubijen Bak ponovo dobija na važnosti: s jedne strane pruža Sejdi osećaj zaostavštine - spokojstvo da je ostavila konkretan trag budućim žrtvama poput nje - dok na drugom planu vrši funkciju ponovnog suočavanja sa drugošću, zlom koje ne može da kraja biti pobeđeno.
5 od 5
Doba žudnje
Priča koja poseduje najviše horora u konvencionalnom značenju te reči. Radi se o narativu o telesnim žudnjama koje poništavaju moralni kompas; o tome kako telesna požuda - koja se ne može obuzdati - u sebi nosi iskru, plamen zla. U krajnjoj lini, Barker u ovoj priči tematizuje, konotirajući frankenštajnovske dileme, (ne)etičku medicinsku proceduru i njene posledice.
Ko je gledao Srpski film, u ovoj priči može pronaći nekoliko sličnosti: pojedinac koji zbog materijalne nesigurnosti pristaje na sumnjiv eksperiment; dijabolični Eros kao dominantna figura naspram Tanatosa koji provejava u pozadini; ljubav u senci seksa; opštedruštvena dekadentnost itd.
Ispripovedana iz perspektive onoga ko zlo čini - premda se ne radi i onome ko je istinski kreator zla - i iz ugla onih koji pokušavaju da ga uhvate, autor ponovo razdvaja dva narativna toka do konačnog susreta izobličene Drugosti i “normalnosti” koja je istu stvorila, te je - i pojedinačno a pogotovo društveno - sklona tome da u dekadentnost zađe.
Požuda, strast, telesno zadovoljstvo, oduvek se simbolički povezuje sa vatrom, plamenom koji je u ovoj priči hiperbolisan do tačke ključanja - neizdrživog oseća sagorevanja kože.
Dok fabula, u drugoj polovini, ne dobije na značenju, pratimo niz bizarnih, nasilnih, telesno užasavajućih scena; prikaze pretučenih, izmučenih, silovanih tela. Ženski rod je u ovoj priči - koja se, u bukvalnom smislu te reči, bazira na falocentričnom poretku, muškom libidu koji unosi strah i trepet, nemir i nasilje – sveden na ulogu nevine žrtve. No, Barker ne bi bio Barker da ni tu nije izvršio malu izmenu, te za prvu žrtvu(scena koju ću u nastavku malo detaljnije obraditi) ni ne dobijamo pune informacije o tome kroz kakav je pakao prošla, dok je druga na vreme spasena torture. S druge strane, u tekstu je prisutan detaljan, eksplicitan akt homoseksualnog silovanja osobe koja je zbog svoje “ambicije” ili, bolje rečeno pohlepe, dospela u tu situaciju da postane žrtva.
Opšta dekadencija, moralni sunovrat izazvan kapitalističkim normama koje nalažu žudnju za uspehom po cenu prodaje tela, bića, sopstva – doba u kojem nema vremena za sentimentalnost. Novo doba je “doba žudnje” u kojem je telo postalo glavna roba.
Žrtva tuđih ambicija, više instance, postaje uzurpator prihvaćenog - normatizovanog ponašanja - lascivni predator koji, ne mogavši da se obuzda, vrši seriju silovanja, seksualni akt sa zidom, te ga čak i životinje, pa i voće, uzbuđuje. Pored toga, poseduje i nekontrolisanu potrebu da vadi ljudska srca. U tom kontekstu treba napomenuti i ironizujući, gotovo ponižavajući status ljubavi u ovoj priči. Jedan događaj, poglavlje, otvara ljubavna pesma na radiju koju osluškuje drogirani lik, nakon čega slede dva silovanja, te završni zaključak da su nakon svega “i dalje svirale ljubavne pesme”. Takođe, jedan od ironičnih, ciničnih komentara - nakon sagledavanja posledica seruma tj. toga u šta se životinje i ljudi pretvaraju – jeste da “ljubav ubija”. Sredstvo koje su doktori koristili neodoljivo podseća na kapitalizam, između ostalog i zbog toga što se ne rastvara, već se “hrani samim sobom”, što za posledicu ima “izdaju sopstvenog tela”.
Pomenuo bih još i sjajno osmišljenu, odlično napisanu suptilnu horor scenu. Znajući šta se ubijenoj žrtvi desilo, ali ne i kako, pratimo detektiva Džeroma, koji zahteva da se pusti snimak kako bi saznao ko je zapravo učinio pomenuti zločin. Dok se snimak vrti, dobijamo informacije koje dobijaju i sami likovi, odnosno ništa. Horor je u toj sceni usporen, sveden, nagovešten uz konstantno iščekivanje užasavajućeg čina. Kako vreme prolazi, pritisak raste sve do kulminacije koja zadobija antiklimaks – akt silovanja ostaje van fokusa tj. kamere su postavljene tako da se ni ne vidi šta se zapravo desilo, te horor koji se odigrava ostaje skriven od naših očiju.
4 od 5
O ostalim pričama na linku: https://pepeoreci.wordpress.com/2020/...
January 15, 2023
Libro di sangue o Creature è, Books of Blood - Volume Four. Chissà poi perchè in Italia dobbiamo sempre cambiare titoli e soprattutto creare un caos infinito, questo arcano non lo capirò mai!
Comunque, in questo quarto volume sono raccolti 5 racconti, 4 lunghi ed uno corto. Come sempre Barker ci porta all'attenzione tematiche quali: amore, libertà, scoperta e morte.
Quattro tematiche che s'intrecciano, s'avviluppano tra se stesse, inglobandone l'una con l'altra, fino a farci riflettere sulla possibilità che, anche se solo una delle quattro tematiche mancasse, le altre potrebbero esistere, oppure, come direbbe Doc, ci sarebbe una disgregazione del continuum tempo/spazio? Così come in matematica, quando si vuole spiegare un concetto, si attua la prova per assurdo, così Barker fa dell'assurdo, del surreale, del soprannaturale, il suo fulcro narrativo. Con la penna poliedrica e dalla vena immaginifica infinita, Barker delinea storie al limite estremo, dove fantasmi tornano per una qualche ipotetica redenzione, dove una scoperta scientifica causerebbe una rivoluzione impensabile e dove...
https://www.youtube.com/watch?v=3haW9...
Comunque, in questo quarto volume sono raccolti 5 racconti, 4 lunghi ed uno corto. Come sempre Barker ci porta all'attenzione tematiche quali: amore, libertà, scoperta e morte.
Quattro tematiche che s'intrecciano, s'avviluppano tra se stesse, inglobandone l'una con l'altra, fino a farci riflettere sulla possibilità che, anche se solo una delle quattro tematiche mancasse, le altre potrebbero esistere, oppure, come direbbe Doc, ci sarebbe una disgregazione del continuum tempo/spazio? Così come in matematica, quando si vuole spiegare un concetto, si attua la prova per assurdo, così Barker fa dell'assurdo, del surreale, del soprannaturale, il suo fulcro narrativo. Con la penna poliedrica e dalla vena immaginifica infinita, Barker delinea storie al limite estremo, dove fantasmi tornano per una qualche ipotetica redenzione, dove una scoperta scientifica causerebbe una rivoluzione impensabile e dove...
https://www.youtube.com/watch?v=3haW9...
October 31, 2016
If one is looking for horrific tales that truly get under the skin, it is hard to beat Clive Barker's classic '80s series Books of Blood. Comprised of six volumes, the collection can be read separately or all at once — and in no particular order. Volume 4 (i.e. The Inhuman Condition) contains five stories, all of which show a maturation and progression from the first three volumes (which are magnificent reads in and of themselves!).
The stories:
'The Body Politic' - This was my favorite Barker short story until I read 'Revelations'. A man begins to lose control of his hands, and terror ensues. This story makes the reader ask: do we control our bodies, or do our bodies control us? We are, after all, nothing more than a brain — a computer that is susceptible to errors large and small — trapped in a skeleton. Fun to think about, eh? Not only was this story incredibly frightening, but it also made me actually laugh out loud a couple of times. The thought of human hands planning and carrying out a revolution might seem silly, but in Clive Barker's hands it is satisfying and terrifying. 5 stars.
'The Inhuman Condition' - Funnily enough, the title story is the weakest entry here. It's not bad; it feels like a practice run for The Hellhound Heart (or Hellraiser, if you prefer). A thief discovers an intricately-knotted cord and becomes spellbound by it, and each unknotting unleashes chaotic, deadly results. This one suffers from Barker, weirdly enough, not describing the monsters... like, at all. Typically he revels in painting word pictures, but not this time. I'm all for using my imagination, but I like to be given something to work with. 2 stars.
'Revelations' - Certainly my favorite short in Vol. 4. It might just be my favorite in all the Books of Blood . . . Though I can't make that claim, as I have yet to read Volumes 5 and 6. And 'Dread', man. 'Dread' is a great one. I'll say 'Revelations' and 'Dread' are tied. Anywho, this is a story of religious fundamentalism gone awry, an unhappy marriage, drug abuse, ghosts . . . Despite dealing with some heady and depressing topics here, Clive Barker pulls off one of the funniest tales I've yet to read from him. He mixes horror, tragedy, and comedy (isn't horror just tragedy/comedy, anyway?) in a way few authors could. I loved it from end to end. 5 stars.
'Down, Satan!' - This is a weird little nugget, but it's harmless. Clocking in at only five pages, this is the tale of a rich (and possibly insane?) man who builds a New Hell in hopes of battling the Devil. Or something. I dug it. 4 stars.
'The Age of Desire' - This one reads like it could have been written by Dean Koontz, if Koontz weren't afraid to bust out of the heteronormative bubble every once in a while. And Barker's prose kicks the ass of Koontz's any day of the week. I say it makes me think of Koontz (specifically, Watchers) because it stares unflinchingly at the consequences of science experimentation gone wrong. 'The Age of Desire' is Clive Barker doing what he does best: combining gore and sex into something imaginative and unforgettable. 5 stars.
I totally enjoyed four of the five stories here, and 'The Inhuman Condition' isn't terrible . . . It just dulls in comparison to The Hellbound Heart. If you're looking for wholly original and entertaining tales of horror, look no further. And if you've yet to read the first three volumes of Books of Blood, don't fret! As I said earlier, these can be taken out of order. Highly recommended.
The stories:
'The Body Politic' - This was my favorite Barker short story until I read 'Revelations'. A man begins to lose control of his hands, and terror ensues. This story makes the reader ask: do we control our bodies, or do our bodies control us? We are, after all, nothing more than a brain — a computer that is susceptible to errors large and small — trapped in a skeleton. Fun to think about, eh? Not only was this story incredibly frightening, but it also made me actually laugh out loud a couple of times. The thought of human hands planning and carrying out a revolution might seem silly, but in Clive Barker's hands it is satisfying and terrifying. 5 stars.
'The Inhuman Condition' - Funnily enough, the title story is the weakest entry here. It's not bad; it feels like a practice run for The Hellhound Heart (or Hellraiser, if you prefer). A thief discovers an intricately-knotted cord and becomes spellbound by it, and each unknotting unleashes chaotic, deadly results. This one suffers from Barker, weirdly enough, not describing the monsters... like, at all. Typically he revels in painting word pictures, but not this time. I'm all for using my imagination, but I like to be given something to work with. 2 stars.
'Revelations' - Certainly my favorite short in Vol. 4. It might just be my favorite in all the Books of Blood . . . Though I can't make that claim, as I have yet to read Volumes 5 and 6. And 'Dread', man. 'Dread' is a great one. I'll say 'Revelations' and 'Dread' are tied. Anywho, this is a story of religious fundamentalism gone awry, an unhappy marriage, drug abuse, ghosts . . . Despite dealing with some heady and depressing topics here, Clive Barker pulls off one of the funniest tales I've yet to read from him. He mixes horror, tragedy, and comedy (isn't horror just tragedy/comedy, anyway?) in a way few authors could. I loved it from end to end. 5 stars.
'Down, Satan!' - This is a weird little nugget, but it's harmless. Clocking in at only five pages, this is the tale of a rich (and possibly insane?) man who builds a New Hell in hopes of battling the Devil. Or something. I dug it. 4 stars.
'The Age of Desire' - This one reads like it could have been written by Dean Koontz, if Koontz weren't afraid to bust out of the heteronormative bubble every once in a while. And Barker's prose kicks the ass of Koontz's any day of the week. I say it makes me think of Koontz (specifically, Watchers) because it stares unflinchingly at the consequences of science experimentation gone wrong. 'The Age of Desire' is Clive Barker doing what he does best: combining gore and sex into something imaginative and unforgettable. 5 stars.
I totally enjoyed four of the five stories here, and 'The Inhuman Condition' isn't terrible . . . It just dulls in comparison to The Hellbound Heart. If you're looking for wholly original and entertaining tales of horror, look no further. And if you've yet to read the first three volumes of Books of Blood, don't fret! As I said earlier, these can be taken out of order. Highly recommended.
January 7, 2021
The fourth volume of Barker's Books of Blood short story collection is a slight step back from its predecessors with no truly devastating standout piece. Not to say that it's not worth reading, far from it. Barker's imagination is wildly fascinating and his writing is still absorbing in all of the five stories within (see ratings for each story below, along with some song lyrics which may be helpful and witty, or not):
The Body Politic - 3/5 - keep your hands to yourself
The Inhuman Condition - 4/5 - I've got the world on a string
Revelations - 3/5 - pulled my trigger now he's dead
Down, Satan! - 4/5 - I must love what I destroy and destroy the thing I love
The Age of Desire - 3/5 - what you get is what you seek
The Body Politic - 3/5 - keep your hands to yourself
The Inhuman Condition - 4/5 - I've got the world on a string
Revelations - 3/5 - pulled my trigger now he's dead
Down, Satan! - 4/5 - I must love what I destroy and destroy the thing I love
The Age of Desire - 3/5 - what you get is what you seek
March 14, 2013
I'm not quite sure how to rate this
There are 5 short stories. The first 2 are amazing.
The third is good
The last 2, I didn't care for
The first, The Inhuman Condition, is terrifying as is the title story about a knot and the demons that hell unleashes when the knot is undone. Original and kept me interested
The second, The Body Politic, Charlie has the strangest thoughts. He thinks his hands are planning a revolt, plotting against him and the whole human race. Very original
The third, Revelations, A modern day ghost story with a small twist. An evangelsit and his wife and assistant check into a motel where a murder had taken place several years in the past. The deceased couple are also there to recreate the murder or try and reconcile, who can tell. Witty and strange. Clive keeps us enthralled.
The fourth, Down Satan, is rather short story about a man who wants to meet God - but finds that God seems to have abandoned him So he decides if he puts himself in danger from Satan, that God will come. So he builds a Hell on earth to entice Satan. Bizare and dark, never really takes off as a full story.
The fifth, The Age Of Desire. I have no idea what to say. Scientists are involved in an experiment with love drugs - that seem to go out of control. The subject of the experiment seems to become rather overcome with sexual desires - some very descriptive passages. Very pornographic. Makes you wonder what is in Clive Barkers mind
There are 5 short stories. The first 2 are amazing.
The third is good
The last 2, I didn't care for
The first, The Inhuman Condition, is terrifying as is the title story about a knot and the demons that hell unleashes when the knot is undone. Original and kept me interested
The second, The Body Politic, Charlie has the strangest thoughts. He thinks his hands are planning a revolt, plotting against him and the whole human race. Very original
The third, Revelations, A modern day ghost story with a small twist. An evangelsit and his wife and assistant check into a motel where a murder had taken place several years in the past. The deceased couple are also there to recreate the murder or try and reconcile, who can tell. Witty and strange. Clive keeps us enthralled.
The fourth, Down Satan, is rather short story about a man who wants to meet God - but finds that God seems to have abandoned him So he decides if he puts himself in danger from Satan, that God will come. So he builds a Hell on earth to entice Satan. Bizare and dark, never really takes off as a full story.
The fifth, The Age Of Desire. I have no idea what to say. Scientists are involved in an experiment with love drugs - that seem to go out of control. The subject of the experiment seems to become rather overcome with sexual desires - some very descriptive passages. Very pornographic. Makes you wonder what is in Clive Barkers mind
October 30, 2017
Surprising no one, I enjoyed this volume as much as the ones before it. Honestly, it's like Clive Barker outdoes HIMSELF with every volume.
It's hard to choose a favourite story, but I'll go with "Revelations". My least favourite story is easy to choose, though, it was "Age of Desire". I thought it would never end.
It's hard to choose a favourite story, but I'll go with "Revelations". My least favourite story is easy to choose, though, it was "Age of Desire". I thought it would never end.
January 18, 2022
4.5/5 stars
Not a bad one in the bunch in my opinion. Barker’s unique and twisted imagination is in full tilt here.
Personal favorites:
Revelations and The Inhuman Condition
Not a bad one in the bunch in my opinion. Barker’s unique and twisted imagination is in full tilt here.
Personal favorites:
Revelations and The Inhuman Condition
September 7, 2015
Четвърта порция кървавокнижна: http://knigolandia.info/book-review/k...
Последният вик на лятото бе крясък - “Кървави книги 4″ на Клайв Баркър протегна отрязани ръце към феновете и те, не се съмнявам, ще ги сграбчат непоколебимо, каквото и да им струва. А аз се замислих как преди три години излезе първата порция и просто ме отнесе. Сега вече сякаш посвикнах със стила на Баркър, пък и попрочетох и други в жанра (“Кутия за птици” на Джош Малерман, “Отвъд стената на съня” на Х. Ф. Лъвкрафт, “Демонични песни” на Ф. Пол Уилсън), та не се стряскам вече толкова и дори мога да ги чета на тъмно :) Последната част я четох точно така и бе приятно, даже без кошмари:
Colibri Books
http://knigolandia.info/book-review/k...
Последният вик на лятото бе крясък - “Кървави книги 4″ на Клайв Баркър протегна отрязани ръце към феновете и те, не се съмнявам, ще ги сграбчат непоколебимо, каквото и да им струва. А аз се замислих как преди три години излезе първата порция и просто ме отнесе. Сега вече сякаш посвикнах със стила на Баркър, пък и попрочетох и други в жанра (“Кутия за птици” на Джош Малерман, “Отвъд стената на съня” на Х. Ф. Лъвкрафт, “Демонични песни” на Ф. Пол Уилсън), та не се стряскам вече толкова и дори мога да ги чета на тъмно :) Последната част я четох точно така и бе приятно, даже без кошмари:
Colibri Books
http://knigolandia.info/book-review/k...
March 17, 2023
Clive Barker serves up another round of creative and enjoyable horror stories. I can't get enough of the writing style displayed in these short stories, it saddens me knowing im nearing the end of this collection. I hope barker's novels display the same creative themes found within his short stories.
May 26, 2021
Another solid group of stories. My favorite from this volume was probably Revelations.
January 17, 2022
The book started off strong, with the first story being a 5-star read but each story after became less interesting.
December 25, 2016
More fantastically weird horror from Barker. I didn't like this collection quite as much as the previous three (which shouldn't be taken as bad, since those are some of the best short horror ever), but then the last story hit me, and holy fuck it was mind-boggling. The premise is essentially "what if aphrodisiacs actually worked" instead of just being fucking snake oil, and the results, from Barker's wild imagination, are horrifying and grotesque. Thanks for the mindfuck, Mr. Barker. You are a demented genius.
May 10, 2021
Okay, I have to put my hands up here. There is no real excuse for why I haven't gotten around to finishing this one. It's Clive Barker for fucks sake and besides, it's on my Ipod so I really have no real excuse NOT to finally get this one out. So let's bang this one out.
To be honest, it's kind of surprising coming back to this collection because while the other stories often flirted with other genres, there's quite a lot of dark comedy littered throughout these stories. As to whether that comedy lands however....
The Inhuman Condition: Karney and his friends beat up a vagrant (Pope) for fun. Among Pope's belongings Karney find a piece of string with several knots in it. Naturally because Karney loves puzzles, he needs to unravel it. Except what he will find is that some knots should stay tied.
This one feels almost proto-Hellraiser in design, at least because of the idea of a puzzle unleashing monstrous entities from a prison. Barker made the right decision in making Karney somewhat likable compared to his mates, but the story overall still feels very by the numbers, albeit in that familiar Barker writing style.
Got to admit, I love the cover artwork for this story.
The Body Politic: Charlie George's hands don't like him very much. To them, he's a tyrant and tyrants need to be deposed. So they stage a revolution.
Adapted for screen in Quicksilver Highway (1997) and a short film in 2015, The Body Politic is one of Barker's more darkly comedic works. I seriously wonder if the writers of Idle Hands read this one and cribbed a lot of it from this story because both have that kind of ridiculous tone to them. The Body Politic is a solidly creative piece that flits between a few characters, all experiencing the Handvolution as it plays out. A lot of the deaths are nasty but funny as fuck when you factor in that people are basically doing this:
Revelations: Virginia and her pastor husband John stop in at a motel for a night on the same night that a ghostly couple decide to stop by to reassess how their relationship turned deadly. Unbeknownst to any of them, things will play out on this night that prove that sometimes history repeats itself.
This one feels like a episode of Buffy or something because the basic concept is a ghost story mixed with a soap opera. All of the characters involved are somewhat quirky and oddball, with John being the major standout on account of being a religious megalomaniac. The ghostly couple - Sadie and Buck - are decently fleshed out and things go pear-shaped in a way that feels organic. I guess this one just didn't hit the right nerve for me. It's not bad, maybe a little long-winded and too melodramatic at times, but not my personal cup of tea.
Charming looking bloke isn't he?
Down Satan!: Gregorius is rich, affluent and godless. So he decides to draw the attention of Satan so God will intervene on his behalf. And that means plumbing the depths of evil.
Maybe it's just me, but this is one of the more quietly unsettling pieces across the entire Books of Blood. Which is weird, because at its core, nothing of substance actually happens. We're never given any deep exploration into Gregorius, whether he's insane or legit, whether he succeeded in calling up Satan or simply drove himself batty trying. There's no real resolution either. But maybe that's why I like it. Horror can sometime just happen for no real discernible reason. It's just ugly and cruel and horrifying.
Gregorius, halfway between genius and madness
The Age of Desire: Short version:
Long version: Man takes super-aphrodisiac. Man goes insane with lust. Man becomes super rapist. Roll credits.
For this one, Barker dips his toe into soft science fiction and does something that I've only ever seen Barker do; turn sex into something that's both horrifying, dehumanizing and yet strangely poetic. Much of the bulk of the story follows several key players; the cops, the surviving scientist and our resident guinea-pig/super rapist Jerome. But the Age of Desire is probably one of the bigger stumbles across the series. The premise is interesting but Barker's attempts to poeticize it feel clunky and goofy. It also doesn't help that Jerome doesn't really accomplish much. Don't get me wrong; his actions are vile and horrifying but after that, its kind of hard to take him seriously when he spends his time fucking a hole in the wall and no, I wish I was kidding.
Not the most menacing figure I've ever seen
Book four in the Books of Blood is a mixed bag for me. Like with a lot of them, there's no real misfires here. Hell even The Age of Desire is readable and poetic. But balancing comedy and horror is really tricky and overall I think Barker leans towards horror more with the comedy feeling a little stiff. I liked Down Satan! but that's more because it's more traditional unknowable horror. The rest of the stories are alright but vary between predictable, waffling or too melodramatic.
Still worth your time but I've read better from him.
Now volume five, I DON'T have that on my Ipod at the mo, sooooooo.............
To be honest, it's kind of surprising coming back to this collection because while the other stories often flirted with other genres, there's quite a lot of dark comedy littered throughout these stories. As to whether that comedy lands however....
The Inhuman Condition: Karney and his friends beat up a vagrant (Pope) for fun. Among Pope's belongings Karney find a piece of string with several knots in it. Naturally because Karney loves puzzles, he needs to unravel it. Except what he will find is that some knots should stay tied.
This one feels almost proto-Hellraiser in design, at least because of the idea of a puzzle unleashing monstrous entities from a prison. Barker made the right decision in making Karney somewhat likable compared to his mates, but the story overall still feels very by the numbers, albeit in that familiar Barker writing style.
Got to admit, I love the cover artwork for this story.
The Body Politic: Charlie George's hands don't like him very much. To them, he's a tyrant and tyrants need to be deposed. So they stage a revolution.
Adapted for screen in Quicksilver Highway (1997) and a short film in 2015, The Body Politic is one of Barker's more darkly comedic works. I seriously wonder if the writers of Idle Hands read this one and cribbed a lot of it from this story because both have that kind of ridiculous tone to them. The Body Politic is a solidly creative piece that flits between a few characters, all experiencing the Handvolution as it plays out. A lot of the deaths are nasty but funny as fuck when you factor in that people are basically doing this:
Revelations: Virginia and her pastor husband John stop in at a motel for a night on the same night that a ghostly couple decide to stop by to reassess how their relationship turned deadly. Unbeknownst to any of them, things will play out on this night that prove that sometimes history repeats itself.
This one feels like a episode of Buffy or something because the basic concept is a ghost story mixed with a soap opera. All of the characters involved are somewhat quirky and oddball, with John being the major standout on account of being a religious megalomaniac. The ghostly couple - Sadie and Buck - are decently fleshed out and things go pear-shaped in a way that feels organic. I guess this one just didn't hit the right nerve for me. It's not bad, maybe a little long-winded and too melodramatic at times, but not my personal cup of tea.
Charming looking bloke isn't he?
Down Satan!: Gregorius is rich, affluent and godless. So he decides to draw the attention of Satan so God will intervene on his behalf. And that means plumbing the depths of evil.
Maybe it's just me, but this is one of the more quietly unsettling pieces across the entire Books of Blood. Which is weird, because at its core, nothing of substance actually happens. We're never given any deep exploration into Gregorius, whether he's insane or legit, whether he succeeded in calling up Satan or simply drove himself batty trying. There's no real resolution either. But maybe that's why I like it. Horror can sometime just happen for no real discernible reason. It's just ugly and cruel and horrifying.
Gregorius, halfway between genius and madness
The Age of Desire: Short version:
Long version: Man takes super-aphrodisiac. Man goes insane with lust. Man becomes super rapist. Roll credits.
For this one, Barker dips his toe into soft science fiction and does something that I've only ever seen Barker do; turn sex into something that's both horrifying, dehumanizing and yet strangely poetic. Much of the bulk of the story follows several key players; the cops, the surviving scientist and our resident guinea-pig/super rapist Jerome. But the Age of Desire is probably one of the bigger stumbles across the series. The premise is interesting but Barker's attempts to poeticize it feel clunky and goofy. It also doesn't help that Jerome doesn't really accomplish much. Don't get me wrong; his actions are vile and horrifying but after that, its kind of hard to take him seriously when he spends his time fucking a hole in the wall and no, I wish I was kidding.
Not the most menacing figure I've ever seen
Book four in the Books of Blood is a mixed bag for me. Like with a lot of them, there's no real misfires here. Hell even The Age of Desire is readable and poetic. But balancing comedy and horror is really tricky and overall I think Barker leans towards horror more with the comedy feeling a little stiff. I liked Down Satan! but that's more because it's more traditional unknowable horror. The rest of the stories are alright but vary between predictable, waffling or too melodramatic.
Still worth your time but I've read better from him.
Now volume five, I DON'T have that on my Ipod at the mo, sooooooo.............
November 2, 2022
Se acabó una era. Un librito de sangre al año y tiro por que me toca. Gracias por todo, Clive Barker.
El año que viene a por Lovecraft
El año que viene a por Lovecraft
August 8, 2023
4 for 4. Back to 4 some real creepy shit in this one.
May 14, 2022
This collection by Clive Barker is not nearly as good as the 1st three “Books of Blood”. There are 5 short stories and like most short story collections, some are better than others. While the final story, “The Age of Desire” was frankly, terrible, the 3rd story “Revelations” was excellent. The other three tales were mostly average.
3.5 stars because “Revelations” was much better than average.
3.5 stars because “Revelations” was much better than average.
July 28, 2022
Sempre al top
November 26, 2024
October is the perfect month to revisit one of the masters of terror, Clive Barker. Before shifting more to fantasy, Barker unleashed on the unsuspecting world his brand of unrelenting horror. The pinnacle being the short fiction series, Books of Blood. Without further ado, let's jump into Book 4, The Inhuman Condition.
The Inhuman Condition - not only is it the name of the book, but also the first story in the collection. The Inhuman Condition feels like a prelude to The Hellbound Heart, the inspiration for the movie Hellraiser. Instead of a Lemarchand’s puzzle box, we have a curious rope filled with knots picked up by a burglar. Untying the complex system of knots releases monsters that take vengeance on those that did the original owner, a vagrant named Pope, wrong. A quick peek at copyright dates shows The Inhuman Condition to be 1985 and The Hellbound Heart to be 1986. While being a solid story, I’ll take that vicious puzzle box over a knot-filled rope any day.
3.5 stars out of 5.0
The Body Politic - Imagine if your hands had the awareness and a mind of their own, and they’re not happy constantly being controlled by their human “hosts.” Not only are they fed up, but they want to break free — and they’re recruiting other hands to do the same. Sound silly? Maybe so, but I totally dug it. Clive tickles my love for all things Tales From The Crypt with this one.
4.5 stars out of 5.0
Revelations - An overbearing evangelist traveling with his wife and driver stops for the night at a roadside motel to get out of the pouring Texas rain. They’re about to learn the Cottonwood Motel has a violent history, one that might attract someone who is about to snap. Perfect storytelling and word usage by Barker.
5.0 stars out of 5.0
Down, Satan! - A wealthy tycoon builds a hell on earth in an attempt to summon Satan. Sometimes it’s the devil you know.
3.5 stars out of 5.0
The Age of Desire - The police are after Jerome, an escaped test subject that was given a drug that causes his libido to burn with uncontrollable desire, so much so that he rapes anything that moves and some things that don’t.
4.0 stars out of 5.0
Overall, a solid collection from one of the most gifted writers in horror.
4.10 stars out of 5.0
The Inhuman Condition - not only is it the name of the book, but also the first story in the collection. The Inhuman Condition feels like a prelude to The Hellbound Heart, the inspiration for the movie Hellraiser. Instead of a Lemarchand’s puzzle box, we have a curious rope filled with knots picked up by a burglar. Untying the complex system of knots releases monsters that take vengeance on those that did the original owner, a vagrant named Pope, wrong. A quick peek at copyright dates shows The Inhuman Condition to be 1985 and The Hellbound Heart to be 1986. While being a solid story, I’ll take that vicious puzzle box over a knot-filled rope any day.
3.5 stars out of 5.0
The Body Politic - Imagine if your hands had the awareness and a mind of their own, and they’re not happy constantly being controlled by their human “hosts.” Not only are they fed up, but they want to break free — and they’re recruiting other hands to do the same. Sound silly? Maybe so, but I totally dug it. Clive tickles my love for all things Tales From The Crypt with this one.
4.5 stars out of 5.0
Revelations - An overbearing evangelist traveling with his wife and driver stops for the night at a roadside motel to get out of the pouring Texas rain. They’re about to learn the Cottonwood Motel has a violent history, one that might attract someone who is about to snap. Perfect storytelling and word usage by Barker.
5.0 stars out of 5.0
Down, Satan! - A wealthy tycoon builds a hell on earth in an attempt to summon Satan. Sometimes it’s the devil you know.
3.5 stars out of 5.0
The Age of Desire - The police are after Jerome, an escaped test subject that was given a drug that causes his libido to burn with uncontrollable desire, so much so that he rapes anything that moves and some things that don’t.
4.0 stars out of 5.0
Overall, a solid collection from one of the most gifted writers in horror.
4.10 stars out of 5.0
February 26, 2009
In 1986, Clive Barker followed the enormous success of the first three volumes of The Books Of Blood, with a final three volumes to create the entire Books Of Blood series. His two omnibus's were later to be broken down, to be sold as individual books. Barker was invited to be able to illustrate these covers, with his dark and twisted artwork.
This volume was also released in America under the name 'The Inhuman Condition'. The six volumes were all released in their individual forms back in 1985, this forth volume contains the following short stories:
The Body Politic - 47 pages
"What if parts of your body, such as your hands for instance, suddenly decided that they wanted to sever their connections with you and be free? Human hands tear themselves from their masters to start a bloody revolution". A truly unforgettable tale of weird horror that screams paranoia from every page. Barker offers up this surreal treat that will please any horror fan. The short was later to be adapted for the movie 'Quicksilver Highway', which was unfortunately directed by Mick Garris (Sleepwalkers, The Stand, The Shining - TV version) in which he delivers his usual low-talented direction skills to complement the budget on offer.
The Inhuman Condition - 47 pages
"A knotted string unravels dark hungering nightmares". Bringing with it a brief glimpse at Barker's principal ideas for 'The Hellbound Heart', this short story packs in heart-pounding suspense and twisted horror to form a gripping and terrifying storyline. The premise behind the story is a clever and inspired one, as we see mankind's irresistible urge for curiosity.
Revelations - 56 pages
"In a Texas motel room, the living and the dead make love. Buck and Sadie Durning check into the Cottonwood Motel in June 1955. Buck never checks out and four months later Sadie is executed for his murder. Thirty years later, John and Virginia Dyer check into the same hotel where the ghosts of Buck and Sadie have returned to relive their fateful drama". A terrifying and disturbing tale that will haunt you for a long time to come. Barker paints a vivid picture of the murderous atmosphere that will chill you to the bone. The story was later adapted by Steve Niles in 1992 into the Eclipse Books graphic novel 'Revelations' where it was illustrated by Lionel Talaro.
Down, Satan! - 6 pages
"A palace is built to lure Satan back to earth". A very short one here from Barker, setting down a creepy and dark idea that sits there waiting to unnerve you. The story was later adapted in 1992 into the graphic novel 'Tapping The Vein - Book 5' where it was illustrated by Tim Conrad.
The Age Of Desire - 54 pages
"A powerful aphrodisiac creates ghastly sexual urgings". Here we have a erotic horror crossover with a fair sprinkling of black comedy mixed in with the dark and twisted storyline. The short story was made into a graphic novel at one time but the decline of Eclipse Comics resulted in the sad loss of this graphic novel illustrated by Timothy Bradstreet.
This volume was also released in America under the name 'The Inhuman Condition'. The six volumes were all released in their individual forms back in 1985, this forth volume contains the following short stories:
The Body Politic - 47 pages
"What if parts of your body, such as your hands for instance, suddenly decided that they wanted to sever their connections with you and be free? Human hands tear themselves from their masters to start a bloody revolution". A truly unforgettable tale of weird horror that screams paranoia from every page. Barker offers up this surreal treat that will please any horror fan. The short was later to be adapted for the movie 'Quicksilver Highway', which was unfortunately directed by Mick Garris (Sleepwalkers, The Stand, The Shining - TV version) in which he delivers his usual low-talented direction skills to complement the budget on offer.
The Inhuman Condition - 47 pages
"A knotted string unravels dark hungering nightmares". Bringing with it a brief glimpse at Barker's principal ideas for 'The Hellbound Heart', this short story packs in heart-pounding suspense and twisted horror to form a gripping and terrifying storyline. The premise behind the story is a clever and inspired one, as we see mankind's irresistible urge for curiosity.
Revelations - 56 pages
"In a Texas motel room, the living and the dead make love. Buck and Sadie Durning check into the Cottonwood Motel in June 1955. Buck never checks out and four months later Sadie is executed for his murder. Thirty years later, John and Virginia Dyer check into the same hotel where the ghosts of Buck and Sadie have returned to relive their fateful drama". A terrifying and disturbing tale that will haunt you for a long time to come. Barker paints a vivid picture of the murderous atmosphere that will chill you to the bone. The story was later adapted by Steve Niles in 1992 into the Eclipse Books graphic novel 'Revelations' where it was illustrated by Lionel Talaro.
Down, Satan! - 6 pages
"A palace is built to lure Satan back to earth". A very short one here from Barker, setting down a creepy and dark idea that sits there waiting to unnerve you. The story was later adapted in 1992 into the graphic novel 'Tapping The Vein - Book 5' where it was illustrated by Tim Conrad.
The Age Of Desire - 54 pages
"A powerful aphrodisiac creates ghastly sexual urgings". Here we have a erotic horror crossover with a fair sprinkling of black comedy mixed in with the dark and twisted storyline. The short story was made into a graphic novel at one time but the decline of Eclipse Comics resulted in the sad loss of this graphic novel illustrated by Timothy Bradstreet.
November 6, 2013
-Voz propia, y más en su tiempo.-
Género. Relatos.
Lo que nos cuenta. Recopilación de relatos del autor que manejan la temática de horror o terror con estilo muy personal, y que nos narra historias como la investigación del origen y naturaleza de unos grafitis extraños, unas voraces criaturas que parecen relacionadas con una cuerda anudada, el intento ciclópeo de conocer en persona al Diablo, un experimento que genera violencia pero por razones muy particulares, la rebelión de unas manos frente a la voluntad de su dueño, eventos inquietantes en unas piscinas públicas abandonadas y el encuentro entre lo cotidiano y lo sobrenatural en un motel . Conocido con diferentes nombres según ediciones incluyendo, pero no solamente, “Sangre” y “The inhuman condition”. Cuarto libro de la serie Libros de Sangre, cuyos volúmenes pueden leerse de forma independiente.
¿Quiere saber más de este libro, sin spoilers? Visite:
http://librosdeolethros.blogspot.com/...
Género. Relatos.
Lo que nos cuenta. Recopilación de relatos del autor que manejan la temática de horror o terror con estilo muy personal, y que nos narra historias como la investigación del origen y naturaleza de unos grafitis extraños, unas voraces criaturas que parecen relacionadas con una cuerda anudada, el intento ciclópeo de conocer en persona al Diablo, un experimento que genera violencia pero por razones muy particulares, la rebelión de unas manos frente a la voluntad de su dueño, eventos inquietantes en unas piscinas públicas abandonadas y el encuentro entre lo cotidiano y lo sobrenatural en un motel . Conocido con diferentes nombres según ediciones incluyendo, pero no solamente, “Sangre” y “The inhuman condition”. Cuarto libro de la serie Libros de Sangre, cuyos volúmenes pueden leerse de forma independiente.
¿Quiere saber más de este libro, sin spoilers? Visite:
http://librosdeolethros.blogspot.com/...
September 18, 2015
"Не се здрависвайте с Чарли ако ви подаде ръка. Не бъркайте в джоба на скитника. Не търсете откровения в Тексас през сезона на смерчовете. Не прекрачвайте прага на Григорий, освен ако не сте Дявола. И най-важното - стойте далеч от Горящия човек, особено ако по радиото звучат любовни песни."
Поредният брутален/брилянтен Баркър, няма празно тук. Четири новели и един кратък разказ, които доказват, че Кървавите Книги са еталон в хоръра. Задълже. Чакам следващите.
Поредният брутален/брилянтен Баркър, няма празно тук. Четири новели и един кратък разказ, които доказват, че Кървавите Книги са еталон в хоръра. Задълже. Чакам следващите.
July 15, 2016
I especially enjoyed the story about the hands that grew minds of their own and turned against their human masters.
November 7, 2021
Πραγματικά στο συγκεκριμένο βιβλίο δεν μπορώ να ξεχωρίσω πιο από όλα τα διηγήματα ήταν το καλύτερο. Η φαντασία και ο τρόμος στα καλύτερα τους από την καταπληκτική πένα του Barker.
November 29, 2020
Στο συγκεκριμένο είχε κάποια διηγήματα που ήταν από τα πιο αδύναμα μέχρι στιγμής (από τον πρώτο τόμο μέχρι τώρα) και κάποια πολύ δυνατά. Σε γενικές γραμμές θα έλεγα ότι μου άρεσε λιγότερο από τα υπόλοιπα της σειράς.
November 1, 2022
The rest of the stories didn’t stand out to me, but I must note that the first in the collection, The Body Politic, was 5/5 “what on Earth am I reading” stars!
It was so good that I recommended this to my dad. By the end of this book, I was horrified and revolted that I had told my own father to read this. If you know, you know.
It was so good that I recommended this to my dad. By the end of this book, I was horrified and revolted that I had told my own father to read this. If you know, you know.
October 3, 2014
Very interesting idea, very shakespearian, of sex embracing the whole world:
Aroused beyond control, he turned to the wall he had been leaning against. The sun had fallen full upon it, and it was warm; the bricks smelled ambrosial. He laid kisses on their gritty faces, his hands exploring every nook and cranny. Murmuring sweet nothings, he unzipped himself, found an accommodating niche, and filled it. His mind was running with liquid pictures: mingled anatomies, female and male in one undistinguishable congress. Above him, even the clouds had caught fire. Enthralled by their burning heads he felt the moment rise in his gristle. Breath was short now. But the ecstasy? Surely that would go on forever.
(…) He got to his feet and looked down at the coinage of semen he'd spent on the pavement. For a fragile instant he caught again a whiff of the vision he'd just had; imagined a marriage of his seed with the paving stone. (p. 81)
Aroused beyond control, he turned to the wall he had been leaning against. The sun had fallen full upon it, and it was warm; the bricks smelled ambrosial. He laid kisses on their gritty faces, his hands exploring every nook and cranny. Murmuring sweet nothings, he unzipped himself, found an accommodating niche, and filled it. His mind was running with liquid pictures: mingled anatomies, female and male in one undistinguishable congress. Above him, even the clouds had caught fire. Enthralled by their burning heads he felt the moment rise in his gristle. Breath was short now. But the ecstasy? Surely that would go on forever.
(…) He got to his feet and looked down at the coinage of semen he'd spent on the pavement. For a fragile instant he caught again a whiff of the vision he'd just had; imagined a marriage of his seed with the paving stone. (p. 81)
February 3, 2016
Поредният шедьовър на Баркър. Нямам думи.
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