Hollywood Undead -Â Everywhere I Go

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Hollywood Undead -Â Everywhere I Go
Let my enemies devour each other.
Salvador DalĂ (via salvadordali-art)
26-29/100Â photos of Luke Evans
[Iâve grown, but whatever monster might be in me, it was always mine, my choice, my responsibility, my evil if you will.] Itâs what I am, and if you want excuses, come and take them.
Mark Lawrence, from The Prince of Thorns (via the-final-sentence)
Dear handsâI know you love poetry, but you canât bring a metaphor to a fist fight.
Rudy Fransisco, excerpt from âThe Bodyâ (via writingwillows)
"My stepmother," Catlyn said, automatically correcting him. The words about him "owning" her unsettled her more than she wanted to let on. "I actually didnât see it." Or sign it for that matter, but she was sure he knew that already. âItâs more the broad details,â she admitted. âIâŚI was wondering how much I still owe you, both in terms of my time and money. Iâve been saving up, and I just, you know, wanted some senseâŚâ
"Catlyn, Cat, Kitty-- Can I call you Kitty? Great.-- You see, it isn't a matter of time or dollars, because God knows I've got plenty of both. It's a matter of... How should I put this so that you can understand it? A matter of necessity. You see, as long as I need you, you're not going anywhere. Now, with Meg all the way in Timbuktu, as you can imagine, our numbers are down. So things don't look so great for you or any of the other babes." He laughed, loudly, suddenly. "Saving up? Saving what up? You think I want your money? It's not the money, honey. It's that sweet, young body that brings rich folk in here drooling on the carpets night after night. That's what I want. That's my game. So what's yours? Why you want out of here so bad? Have I not taken good care of you?"
Readers are advised to remember the devil is a liar.
C.S. Lewis (via gatheringbones)
Iâm more teeth than tongue â I will poison your veins and scrape you goddamn raw.
Haiku X | d.a.s (via backshelfpoet)
30-33/100Â photos of Luke Evans
"Yes. That contract," she answered nodding a little bit. She glanced around the office again, wishing there was someone where she could sit down. Sitting down would make her feel a bit more at ease. "Extenuating circumstances," she agreed. "That was the word. Well, itâs just a few small questions about some of the details, because, you know, like you said, I didnât actually read it or sign it."
"Well, they're all the same, more or less. You needed somebody to bail you out, I did, and now I own you. Bing-bang-boom. Of course, in your case, it was your dear sweet mama who needed my help, but that's just boring ol' semantics, am I right?" He shrugged. "What kind of small questions are we talking about here? Like any contract, yours came with fine print. I'm sure your mother gave them a cursory glance before she signed you over to me, don't you think? Or don't you trust her? I wouldn't blame you, not after how she spoke of you."
"Oh. Right. Alright." She waited for a few seconds and then walked into the office. She never felt fully comfortable in Kressâs office, and she shifted her weight from foot to foot as she thought about how to phrase her request. Especially given his comment about favors. "Itâs not a real favor, sir. Not like the day-off request, which was really nice of youâŚ" She trailed off for a second and continued. "I wanted to talk about my contract."
"Contract? What contract?" Harry barked, a short, loud and sudden laugh. "Oh, you mean that contract? The soul contract? What about it? I thought that I was pretty clear from the get-go." He folded his hands behind his head. "But, come to think of it, you didn't actually sign your own, so we could call yours... Fuck." He snapped his fingers. "What's the word? Extra, extract, extend... Oh, right! That's the word. Extenuating. Extenuating circumstances. So are we just havin' a friendly chat about it, or is there a question somewhere inside that head?"
Catlyn paused outside of Kressâs door, wishing it would swing open, so she wouldnât have to take the action. But it just stayed shut, so she reached out and knocked. âMr Kress?â she called out. âIâd like to talk to you if itâs not too much trouble.â
"Yeah, yeah, hang on, uh, just a minute." Harry half-muttered, half-called as he put his open bottle of scotch under his desk. He cleared his throat. "Is that you Catlyn? The door's open. Let yourself in. And don't let that go to your head. It's a one time thing, you hear?" He leaned back in his chair, cheeks flushed. "What can I do you for, babe? Not here to ask any favors, I hope. I ain't in the mood."
The entire history of human desire takes about seventy minutes to tell. Unfortunately, we donât have that kind of time. Forget the dragon, leave the gun on the table, this has nothing to do with happiness. Letâs jump ahead to the moment of epiphany, in gold light, as the camera pans to where the action is, lakeside and backlit, and it all falls into frame, close enough to see the blue rings of my eyes as I say something ugly. I never liked that ending either. More love streaming out the wrong way.
Richard Siken, Litany in Which Certain Things Are Crossed Out (via fleurlungs)
A ruler, in particular, needs to know how to be both an animal and a man. The classical writers, without saying it explicitly, taught rulers to behave like this. They described how Achilles, and many other rulers in ancient time, were given to Chiron the centaur to be raised, so he could bring them up as he thought best. What they intended to convey, with this story of rulers being educated by someone who was half beast and half man, was that it is necessary for a ruler to know when to act like an animal and when like a man; and if he relies on just one or the other mode of behaviour he cannot hope to survive.
Machiavelli, The Prince (via wearethemakersofmanners)