Thus I began my systematic though half-bewildered tour of Innsmouth's narrow, shadow-blighted ways. Crossing the bridge and turning toward the roar of the lower falls, I passed close to the Marsh refinery, which seemed to be oddly free from the noise of industry. The building stood on the steep river bluff near a bridge and an open confluence of streets which I took to be the earliest civic center, displaced after the Revolution by the present Town Square.
I am disillusioned enough to know that no man's opinion on any subject is worth a damn unless backed up with enough genuine information to make him really know what he's talking about.
Religion as a vital issue is dead except on paper, and whatever beauty-baiting the future may witness will be the work of greed and trade, and not of honest cosmos-facing.
I can look back . . . at two distinct periods of opinion whose foundations I have successively come to distrust - a period before 1919 or so, when the weight of classic authority unduly influenced me, and another period from 1919 to about 1925, when I placed too high a value on the elements of revolt, florid colour, and emotional extravagance or intensity.
Man is an essentially superstitious and fearful animal. Take away the herd's Christian gods and saints and they will without failing come to worship...something else.
I am distinctly opposed to visibly arrogant and arbitrary extremes of government--but this is simply because I wish the safety of an artistic and intellectual civilisation to be secure, not because I have any sympathy with the coarse-grained herd who would menace the civilisation if not placated by sops.
The darkness always teemed with unexplained sound - and yet he sometimes shook with fear lest the noises he heard subside and allow him to hear certain other fainter noises which he suspected were lurking behind them.
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.
A serious adult story must be true to something in life. Since marvel tales cannot be true to the events of life, they must shift their emphasis towards something to which they can be true; namely, certain wistful or restless moods of the human spirit, wherein it seeks to weave gossamer ladders of escape from the galling tyranny of time, space, and natural law.
That's because only a real artist knows the actual anatomy of the terrible or the physiology of fear - the exact sort of lines and proportions that connect up with latent instincts or hereditary memories of fright, and the proper colour contrasts and lighting effects to stir the dormant sense of strangeness.
Our means of receiving impressions are absurdly few, and our notions of surrounding objects infinitely narrow. We see things only as we are constructed to see them, and can gain no idea of their absolute nature. With five feeble senses we pretend to comprehend the boundlessly complex cosmos.
While my chosen form of story-writing is obviously a special and perhaps a narrow one, it is none the less a persistent and permanent type of expression, as old as literature itself. There will always be a certain small percentage of persons who feel a burning curiosity about unknown outer space, and a burning desire to escape from the prison-house of the known and the real into those enchanted lands of incredible adventure and infinite possibilities which dreams open up to us, and which things like deep woods, fantastic urban towers, and flaming sunsets momentarily suggest.
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.