Daylight does not lend itself to terror: objects and people are plain to see; and we encounter there only those things which dare to show themselves in the glare of day. But night, opaque night denser than walls, night, empty and infinite and so black and fathomless that terrifying things reach out and touch us, night when we feel horror stirring, mysteriously prowling__ight seemed to him to hide some unknown, imminent, threatening danger. What could it be?

The creative process is a cocktail of instinct, skill, culture and a highly creative feverishness. It is not like a drug; it is a particular state when everything happens very quickly, a mixture of consciousness and unconsciousness, of fear and pleasure, it's a little like making love, the physical act of love.

There are some days we can claim and there are other days that claim us.

Now you see. We are all fugitives. We have always been fugitives from the void. Whatever comfort, whatever power we gain from outside of ourselves diminishes us -- because comfort and power, unless they are won from the void inside of us, are illusions that make us forget the emptyness that carries us. When we forget that, we believe we deserve comfort and power and so are capable of any evil. We deserve nothing but what we make of ourselves. We deserve nothing else. And when we understand that, then nothing is enough.

If a culture is good or evil, it is only because of its carriers.

Evil is ancient, unchanging, and with us always. The more postmodern the West becomes _ affluent, leisured, nursed on moral equivalence, utopian pacifism, and multicultural relativism _ the more premodern the evil among us seems to arise in nihilistic response.