Only meaning can make a difference and we all know there's no meaning. All stories express a desire for meaning, not meaning itself. Therefore any difference knowing the story makes is a delusion.

She understood the genre constraints, the decencies were supposed to be observing. The morally cosy vision allows the embrace of monstrosity only as a reaction to suffering or as an act of rage against the Almighty. Vampire interviewee Louis is in despair at his brother’s death when he accepts Lestat’s offer. Frankenstein’s creature is driven to violence by the violence done to him. Even Lucifer’s rebellion emerges from the agony of injured price. The message is clear: By all means become an abomination—but only while unhinged by grief or wrath.

Nothing holds love together like shared vice or collusive perversion.

I'm with Milton and the Rolling Stones: I don't find the Devil an unsympathetic character. But in any case, my fiction is populated as much by people who do good as it is by those who do bad. I'm interested in imaginatively accommodating as much of the human as possible, for which you need both moral extremes and everything in between.

You love life because life's all there is.

That's what happens when you keep a secret from someone you love: you start to hate them for allowing you to prove your own willingness to deceive them.

Coffee justifies the existence of the word 'aroma'.