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.

My imagination? No, I don't think it's VIVID at all. On the contrary, it's not nearly potent enough. My poor imaginative faculties have always needed...extentions. That's why I'm here with you. You're smiling again, or rather you're SMIRKING. Funny word, smirk. Rather like an extraterrestrial surname. Simon Smirk. How do you think that sounds?

For optimists, human life never needs justification, no matter how much hurt piles up, because they can always tell themselves that things will get better. For pessimists, there is no amount of happiness—should such a thing as happiness even obtain for human beings except as a misconception—that can compensate us for life’s hurt.

As history confirms, people will change their minds about almost anything, from which god they worship to how they style their hair. But when it comes to existential judgments, human beings in general have an unfalteringly good opinion of themselves and their condition in this world and are steadfastly confident they are not a collection of self-conscious nothings.

While a modicum of consciousness may have had survivalist properties during an immemorial chapter of our evolution – so one theory goes – this faculty soon enough became a seditious agent working against us … we need to hamper our consciousness for all we are worth or it will impose upon us a too clear vision of what we do not want to see … Consciousness has forced us into the paradoxical position of striving to be unself-conscious of what we are – hunks of spoiling flesh on disintegrating bones

The finest people, as people go, cannot help but betray a fair portion of fear and insecurity, even full-blown panic.

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