Cornell Woolrich Citas

• Es difícil decir adiós para siempre en cualquier momento o lugar. Es aún más difícil decirlo a través de un alambre de malla. Entrecruzaba su rostro en pequeñas diagonales, me daba sólo pequeñas moléculas rotas de él a la vez. Escribía un marco frío y rígido alrededor de cada beso.

  Cornell Woolrich

  Goodbye, Kissing, Broken

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• Time is strange. A moment can be as short as a breath, or as long as eternity.

  Cornell Woolrich

  Time, Long, Strange

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• I was trying to cheat death. I was only trying to surmount for a little while the darkness that all my life I surely knew was going to come rolling in on me some day and obliterate me. I was only to stay alive a little brief while longer, after I was already gone.

  Cornell Woolrich

  Darkness, Trying, Rolling

  Cornell Woolrich, Francis M. Nevins (2005). “Night and Fear: A Centenary Collection of Stories”, p.22, Carroll & Graf

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• Each unto himself has his own world that he looks out upon, and though someone else were to stand on the very selfsame inch of ground your feet were placed upon, guided by chalk marks, he would not see the same things you did.

  Cornell Woolrich

  Feet, Looks, World

  Cornell Woolrich (2007). “Night Has a Thousand Eyes”, p.77, Pegasus Books

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• It isn't dying I'm afraid of, it isn't that at all; I know what it is to die, I've died already. It is the endless obliteration, the knowledge that there will never be anything else. That's what I can't stand, to try so hard and to end in nothing. You know what I mean, don't you? ... I really loved to write.

  Cornell Woolrich

  Writing, Mean, Dying

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• It's just some instinct as old as fear: you seek the dark when you hide, you seek the light when the need to hide is gone. All the animals have it too.

  Cornell Woolrich

  Fear, Dark, Animal

  Cornell Woolrich, Francis M. Nevins (2005). “Night and Fear: A Centenary Collection of Stories”, p.382, Carroll & Graf

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• La cara de la niña era del color del talco. La de su tío era una máscara mortuoria, una estructura ósea recubierta de pergamino. La de Shane era de granito, con una brillante línea de sudor justo debajo de la línea del pelo. El detective sabía que nunca olvidaría aquella noche, pasara lo que pasara durante el resto de su vida. Todos se estaban haciendo cicatrices en el alma, el tipo de cicatrices que la gente se hacía en la Edad Media, cuando creían en demonios y magia negra. (Háblame de la muerte)

  Cornell Woolrich

  Girl, Uncles, Fear

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• As for her perfume, it was the kind you only noticed after she'd left a room, not while she was still in it. Even then you didn't realize it was perfume, you only wondered what had made you think of her just then.

  Cornell Woolrich

  Thinking, Rooms, Kind

  Cornell Woolrich (1965). “The Dark Side of Love: Tales of Love and Death”

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• All guys are scared of each other, didn't you know that? I'm not the only one. We're all born afraid.

  Cornell Woolrich

  Fear, Guy, Scared

  Cornell Woolrich, Francis M. Nevins (2005). “Night and Fear: A Centenary Collection of Stories”, p.388, Carroll & Graf

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• I had that trapped feeling, like some sort of a poor insect that you've put inside a downturned glass, and it tries to climb up the sides, and it can't, and it can't, and it can't.

  Cornell Woolrich

  Glasses, Feelings, Trying

  Cornell Woolrich, Mark T. Bassett (1991). “Blues of a Lifetime: Autobiography of Cornell Woolrich”, p.16, Popular Press

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• The preliminaries were out of the way, the creative process was about to begin. The creative process, that mystic life force, that splurge out of which has come the Venus de Milo, the Mona Lisa, the Fantasie Impromptu, the Bayeux tapestries, Romeo and Juliet, the windows of Chartres Cathedral, Paradise Lost - and a pulp murder story by Dan Moody. The process is the same in all; if the results are a little uneven, that doesn't invalidate the basic similarity of origin.

  Cornell Woolrich

  Writing, Venus De Milo, Creative

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• You see, this would be a death by the imagination. And though the imagination feeds on phantoms, it needs a premise in reality to begin with. Then it can go on from there under its own power.

  Cornell Woolrich

  Fear, Reality, Imagination

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• I think fear neutralizes alcohol, weakens its anesthetic power. It's good for small fears; your boss, your wife, your bills, your dentist; all right then to take a drink. But for big ones it doesn't do any good. Like water on blazing gasoline, it will only quicken and compound it. It takes sand, in the literal and the slang sense, to smother the bonfire that is fear. And if you're out of sand, then you must burn up.

  Cornell Woolrich

  Fear, Thinking, Water

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• A su lado, su marido sólo podía balbucear, e incluso dejó de hacerlo cuando ella se dio la vuelta para dedicarle una sonrisa, la sonrisa instintiva y brillante de una mujer que sabe lo débiles que pueden llegar a ser los hombres. No se podía aprender a sonreír así. Era algo que una mujer sabía desde el momento en que nacía o que nunca había sabido. ("Esta noche soy peligrosa")

  Cornell Woolrich

  Husband, Men, Tonight

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• It was as simple as that - they met. As simple as only beautiful things can be beautiful, as only life-changing things, turning-point things, can be simple. ("For The Rest Of Her Life")

  Cornell Woolrich

  Beautiful, Life Changing, Simple

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• I rang the bell and she opened the door, dried her hands, and said heartily: 'Hello, stranger. I was just saying to Cliff only tonight, it's about time you showed up around here.' I wanted to detach him from her, but first I had to sit through about ten minutes of her. She was my sister, but you don't tell women things like I wanted to tell him. I don't know why, but you don't. You tell them the things you have under control; the things that you're frightened of, you tell other men if you tell anyone.

  Cornell Woolrich

  Fear, Men, Doors

  Cornell Woolrich (1943). “I wouldn't be in your shoes”

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• Fear! Fear again, for the first time since his 'teens. Fear, that he thought he would never know any more. Fear that no weapon, no jeopardy, no natural cataclysm, has ever been able to inspire until now. And now here it is running icily through him in the hot Chinese noon. Fear for the thing he loves, the only fear that can ever wholly cow the reckless and the brave.

  Cornell Woolrich

  Correr, Miedo, Valiente

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• I turned away from him and went on my way, up the street and about my business. The past was dead. The future was resignation, fatality, and could only end one way now. The present was numbness, that could feel nothing. Like Novocaine needled into your heart. What was there in all the dimensions of time for me? ("Life Is Weird Sometimes" first chapter of unpublished novel THE LOSER)

  Cornell Woolrich

  Heart, Past, Numbness

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• After she's gone, another brief lull sets in. This one is probably the last. But what good is a lull? It's only a breathing spell in which to get more frightened. Because anticipatory fear is always twice as strong as present fear. Anticipatory fear has both fears in it at once - the anticipatory one and the one that comes simultaneously with the dread happening itself. Present fear only has the one, because by that time anticipation is over.

  Cornell Woolrich

  Strong, Fear, Breathing

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• It seems so long ago that he was last afraid of anything. Seventeen, was he then? Eighteen? Sometimes he thinks he's missing a lot by being like this - fear gives life a fillip. He wonders how it is he lost it all, and what there is - if anything - ever to bring it back.

  Cornell Woolrich

  Fear, Thinking, Long Ago

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