He is the intermediary between us, his audience, the living, and they, the dolls, the undead, who cannot live at all and yet who mimic the living in every detail since, though they cannot speak or weep, still they project those signals of signification we instantly recognize as language.

You were the living image of the entire Platonic shadow show, an illusion that could fill my emptiness with marvellous, imaginary things as long as, just as long as, the movie lasted, and then all would all vanish.

[T]ea, that uniquely English meal, that unnecessary collation at which no stimulants--neither alcohol nor meat--are served, that comforting repast of which to partake is as good as second childhood.

Sade has a curious ability to render every aspect of sexuality suspect, so that we see how the chaste kiss of the sentimental lover differs only in degree from the vampirish love-bite that draws blood, we understand that a disinterested caress is only quantitatively different from a disinterested flogging.

Moonlight, white satin, roses. A bride.

Mother goddesses are just as silly a notion as father gods. If a revival of the myths of these cults gives woman emotional satisfaction, it does so at the price of obscuring the real conditions of life. This is why they were invented in the first place.

His touch both consoles and devastates me; I feel my heart pulse, then wither, naked as a stone on the roaring mattress while the lovely, moony night slides through the window to dapple the flanks of this innocent who makes cages to keep the sweet birds in. Eat me, drink me; thirsty, cankered, goblin-ridden, I go back and back to him to have his fingers strip the tattered skin away and clothe me in his dress of water, this garment that drenches me, its slithering odour, its capacity for drowning.