I could not help feeling that they were evil things-- mountains of madness whose farther slopes looked out over some accursed ultimate abyss. That seething , half-luminous cloud-background held ineffable suggestions of a vague, ethereal beyondness far more than terrestrially spatial; and gave appalling reminders of the utter remoteness, separateness, desolation, and aeon-long death of this untrodden and unfathomed austral world.
After man there would be the mighty beetle civilisation, the bodies of whose members the cream of the Great Race would seize when the monstrous doom overtook the elder world. Later, as the earth's span closed, the transferred minds would again migrate through time and space -- to another stopping place in the bodies of the bulbous vegetable entities of Mercury. But there would be races after them, clinging pathetically to the cold planet and burrowing to its horror-filled core, before the utter end.
The Old Ones were, the Old Ones are, and the Old Ones shall be. Not in the spaces we know, but between them. They walk serene and primal, undimensioned and to us unseen.
Any magazine-cover hack can splash paint around wildly and call it a nightmare, or a witches sabbath or a portrait of the devil; but only a great painter can make such a thing really scare or ring true. That's because only a real artist knows the anatomy of the terrible, or the physiology of fear.
There are not many persons who know what wonders are opened to them in the stories and visions of their youth; for when as children we listen and dream, we think but half-formed thoughts, and when as men we try to remember, we are dulled and prosaic with the poison of life.
It is because the cosmos is meaningless that we must secure our individual illusions of values, direction, and interest by upholding the artificial streams which give us such worlds of salutary illusion. That is - since nothing means anything in itself, we must preserve the proximate and arbitrary background which makes things around us seem as if they did mean something.
The appeal of the spectrally macabre is generally narrow because it demands from the reader a certain degree of imagination and a capacity for detachment from everyday life.
It is in dreams that I have known the real clutch of stark, hideous, maddening, paralysing fear. My infant nightmares were classics, & in them there is not an abyss of agonising cosmic horror that I have not explored. I don't have such dreams now - but the memory of them will never leave me. It is undoubtedly from them that the darkest & most gruesome side of my fictional imagination is derived.
My opinion of my whole experience varies from time to time. In broad daylight, and at most seasons I am apt to think the greater part of it a mere dream; but sometimes in the autumn, about two in the morning when winds and animals howl dismally, there comes from inconceivable depths below a damnable suggestions of rhythmical throbbing ... and I feel that the transition of Juan Romero was a terrible one indeed.
It is good to be a cynic - it is better to be a contented cat - and it is best not to exist at all. Universal suicide is the most logical thing in the world - we reject it only because of our primitive cowardice and childish fear of the dark. If we were sensible we would seek death - the same blissful blank which we enjoyed before we existed.