Peter Straub

I'm being haunted," she blurted out. "My dear," he cooed. "Turn yourself into a tourist attraction and charge admission.

To feel our character, our personality, and our personal, hard-won history fade from being is to be exposed to whatever lies beneath these comforting, operational conveniences. What remains when the conscious and functioning self has been erased is mankind's fundamental condition _ irrational, violent, guilt-wracked, despairing, and mad.

The path to wisdom leads downward, and anyone who decides to take it had better buckle on armor, remember to bring a sword, and get used to the idea that when and if he gets back everyone he talks to is going to think he's a phony.

Nothing is whole, not for too damned long. The world is half night.

Of course, the truth is that no one likes change. People in hell not only refuse to leave it, they invite you in, too. Even people who have blasted the other lives that touched their own blasted lives proudly declare in old age that they would not change a thing -- all that cursing and screaming was their life, by God, and it is not possible to imagine any other. Change introduces unpredictability, uncertainty, a universe of disorder. Right before an amoeba splits in two, it says to itself, uh uh, no way, I ain't gonna do that, nope.

What would be frightening about me jumping out of the bush wearing a pig mask is not the sudden surprise, not me, and not the pig mask, but that the ordinary world had split open for a moment to reveal some possibility never previously considered.

I generally wade in blind and trust to fate and instinct to see me through.

Human beings across every culture I know about require such stories, stories with cool winds and wood smoke. They speak to something deep within us, the capacity to conceptualize, objectify and find patterns, thereby to create the flow of events and perceptions that find perfect expression in fiction. We are built this way, we create stories by reflex, unstoppably. But this elegant system really works best when the elements of the emerging story, whether is is being written or being read, are taken as literal fact. Almost always, to respond to the particulars of the fantastic as if they were metaphorical or allegorical is to drain them of vitality.

From a tale one expects a bit of wildness, of exaggeration and dramatic effect. The tale has no inherent concern with decorum, balance or harmony. ... A tale may not display a great deal of structural, psychological, or narrative sophistication, though it might possess all three, but it seldom takes its eye off its primary goal, the creation of a particular emotional state in its reader. Depending on the tale, that state could be wonder, amazement, shock, terror, anger, anxiety, melancholia, or the momentary frisson of horror.

I have been sometimes way too attracted by my own villains because in a way they seem to hold the secret to the heart of the narrative.

I don__ shy from writing about incredibly unpleasant, distressing things. And I get a kick out of it I confess. I like doing that.

He did not recognize himself either. He was a totally new being, bald, covered with grease and blood, pink and blue eyed: he was his own baby...He was a great fat chuckling baby, and he shat and peed in his filthy trousers and kept driving.

In violence there is often the quality of yearning - the yearning for completion. For closure. For that which is absent and would if present bring to fulfillment. For the body without which the wing is a useless frozen ornament. ("A Short Guide To The City")

...nobody can protect anybody else from vileness. Or from pain. All you can do is not let it break you in half and keep on going until you get to the other side.

Every writer must acknowledge and be able to handle the unalterable fact that he has, in effect, given himself a life sentence in solitary confinement.

Intellectual labor is a common technique for the avoidance of thinking.