“We are only chance visitants to this jungle of blind mutations. The natural world existed when we did not, and it will continue to exist long after we are gone. The supernatural crept into life only when the door of consciousness was opened in our heads. The moment we stepped through that door, we walked out on nature. Say what we will about it and deny it till we die--we are blighted by our knowing what is too much to know and too secret to tell one another if we are to stride along our streets, work at our jobs, and sleep in our beds. It is the knowledge of a race of beings that is only passing through this shoddy cosmos.”

“I'm completely indifferent to what genre I read provided that I feel sympathy with how a writer perceives being alive in the world.”

“To be sane, he held, was either to be sedated by melancholy or activated by hysteria, two responses which were 'always and equally warranted for those of sound insight'. All others were irrational, merely symptoms of imaginations left idle, of memories out of work. And above these mundane responses, the only elevation allowable, the only valid transcendence, was a sardonic one: a bliss that annihilated the universe with jeers of dark joy, a mindful ecstasy. Anything else in the way of 'mysticism' was a sign of deviation or distraction, and a heresy to the obvious. (“The Medusa”)”

“All things considered, the happiest epitaph to have etched on one's headstone is this: 'He never knew what hit him'.”

“To Eden with me you will not leaveTo live in a cottage of crazy, crooked eaves.In your own happy home you take care these nights; When you let your little cat in, please turn on the lights! Something scurries behind and finds a cozy place to stare, Something sent to you from paradise, with serpents to spare: Tongues flowering; they leap out laughing, lapping. Dissapear”

“The sinister, the terrible never deceive: the state in which they leave us is always one of enlightenment. And only this condition of vicious insight allows us a full grasp of the world, all things considered, just as a frigid melancholy grants us full possession of ourselves. We may hide from horror only in the heart of horror. (“The Medusa”)”

“In the recumbence of depression, your information-gathering system collates its intelligence and reports to you these facts: (1) there is nothing to do; (2) there is nowhere to go; (3) there is nothing to be; (4) there is no one to know. Without meaning-charged emotions keeping your brain on the straight and narrow, you would lose your balance and fall into an abyss of lucidity. And for a conscious being, lucidity is a cocktail without ingredients, a crystal clear concoction that will leave you hung over with reality. In perfect knowledge there is only perfect nothingness, which is perfectly painful if what you want is meaning in your life.”

“No one at the factory can remember how long we’ve worked here, or how old we are, yet our pace and productivity continues to increase. It seems as if neither the company nor our temporary supervisor will ever be done with us. Yet we are only human beings, or at least physical beings, and one day we must die. This is the only retirement we can expect, even though none of us is looking forward to that time. For we can’t keep from wondering what might come afterward - what the company could have planned for us, and the part our temporary supervisor might play in that plan. Working at a furious pace, fitting together those small pieces of metal, helps keep our minds off such things.”

“Best-selling horror fiction is indeed necessarily conservative because it must entertain a large number of readers. It’s like network television. I’m your local cable access station.”

“The ‘experimental’ writer, then, is simply following the story’s commands to the best of his human ability. The writer is not the story, the story is the story. See? Sometimes this is very hard to accept and sometimes too easy. On the one hand, there’s the writer who can’t face his fate: that the telling of a story has nothing at all to do with him; on the other hand, there’s the one who faces it too well: that the telling of the story has nothing at all to do with him”

“Such ordeals always strike one with their strangeness, their digression from the normal flow of events, and often provoke a universal protest: "Why me?" Be sure that this is not a question but an outcry. The person who screams it has been instilled with an astonishing suspicion that he, in fact, has been the perfect subject for a very specific "weird," a tailor-made fate, and that a prior engagement, in all its weirdness, was fulfilled at the appointed time and place.”