Childhood is a branch of cartography.

I can imagine anything except having no imagination.

I found one remaining box of comics which I had saved. When I opened it up and that smell came pouring out, that old paper smell, I was struck by a rush of memories, a sense of my childhood self that seemed to be contained in there.

[While writing], I'll go anywhere I find that is quiet, has no internet. I have a big internet problem.

Nothing that had ever happened to him, not the shooting of Oyster, or the piteous muttering expiration of John Wesley Shannenhouse, or the death of his father, or internment of his mother and grandfather, not even the drowning of his beloved brother, had ever broken his heart quite as terribly as the realization, when he was halfway to the rimed zinc hatch of the German station, that he was hauling a corpse behind him

Horror grows impatient, rhetorically, with the Stoic fatalism of Ecclesiastes. That we are all going to die, that death mocks and cancels every one of our acts and attainments and every moment of our life histories, this knowledge is to storytelling what rust is to oxidation; the writer of horror holds with those who favor fire. The horror writer is not content to report on death as the universal system of human weather; he or she chases tornadoes. Horror is Stoicism with a taste for spectacle.

The magician seemed to promise that something torn to bits might be mended without a seam, that what had vanished might reappear, that a scattered handful of doves or dust might be reunited by a word, that a paper rose consumed by fire could be made to bloom from a pile of ash. But everyone knew that it was only an illusion. The true magic of this broken world lay in the ability of things it contained to vanish, to become so thoroughly lost, that they might never have existed in the first place.