No other life forms know they are alive, and neither do they know they will die. This is our curse alone. Without this hex upon our heads, we would never have withdrawn as far as we have from the natural—so far and for such a time that it is a relief to say what we have been trying with our all not to say: We have long since been denizens of the natural world. Everywhere around us are natural habitats, but within us is the shiver of startling and dreadful things. Simply put: We are not from here. If we vanished tomorrow, no organism on this planet would miss us. Nothing in nature needs us.

Look at your body— A painted puppet, a poor toy Of jointed parts ready to collapse, A diseased and suffering thing With a head full of false imaginings. —The Dhammapada

Nature proceeds by blunders; that is its way. It is also ours. So if we have blundered by regarding consciousness as a blunder, why make a fuss over it? Our self-removal from this planet would still be a magnificent move, a feat so luminous it would bedim the sun. What do we have to lose? No evil would attend our departure from this world, and the many evils we have known would go extinct along with us. So why put off what would be the most laudable masterstroke of our existence, and the only one?

And the worst possible thing we could know — worse than knowing of our descent from a mass of microorganisms — is that we are nobodies not somebodies, puppets not people.

As a survival-happy species, our successes are calculated in the number of years we have extended our lives, with the reduction of suffering being only incidental to this aim. To stay alive under almost any circumstances is a sickness with us. Nothing could be more unhealthy than to “watch one’s health” as a means of stalling death. The lengths we will go as procrastinators of that last gasp only demonstrate a morbid dread of that event. By contrast, our fear of suffering is deficient.

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