There is no field other than the weird in which I have any aptitude or inclination for fictional composition. Life has never interested me so much as the escape from life.
I have seen the dark universe yawning Where the black planets roll without aim, Where they roll in their horror unheeded, Without knowledge, or lustre, or name.
Every limited mind demands a certain freedom of expression, and the man who cannot express himself satisfactorily without the stimulation derived from the spirited mode of two centuries ago should certainly be permitted to follow without undue restraint a practice so harmless, so free from essential error, and so sanctioned by precedent, as that of employing in his poetical compositions the smooth and inoffensive allowable rhyme.
It might, too, have been the singular cold that alienated me; for such chilliness was abnormal on so hot a day, and the abnormal always excites aversion, distrust, and fear.
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 every-day life. Relatively few are free enough from the spell of the daily routine to respond to rappings from outside, and tales of ordinary feelings and events, or of common sentimental distortions of such feelings and events, will always take first place in the taste of the majority; rightly, perhaps, since of course these ordinary matters make up the greater part of human experience.
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.
With five feeble senses we pretend to comprehend the boundlessly complex cosmos, yet other beings with wider, stronger, or different range of senses might not only see very differently the things we see, but might see and study whole worlds of matter, energy, and life which lie close at hand yet can never be detected with the senses we have.
Two widely dissimilar races, whether equal or not, cannot peaceably coexist in the same territory until they are either uniformly mongrelised or cast in folkways of permanent and traditional personal aloofness.
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.
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.
Good art means the ability of any one man to pin down in some permanent and intelligible medium a sort of idea of what he sees in Nature that nobody else sees. In other words, to make the other fellow grasp, through skilled selective care in interpretative reproduction or symbolism, some inkling of what only the artist himself could possibly see in the actual objective scene itself.
Non- Euclidean calculus and quantum physics are enough to stretch any brain; and when one mixes them with folklore, and tries to trace a strange background of multi-dimensional reality behind the ghoulish hints of Gothic tales and the wild whispers of the chimney-corner, one can hardly expect to be wholly free from mental tension. (Dreams In The Witch-House)
Every limited mind demands a certain freedom of expression, and the man who cannot express himself satisfactorily without the stimulation derived from the spirited mode of two centuries ago should certainly be permitted to follow without undue restraint a practice so harmless, so free from essential error, and so sanctioned by precedent, as that of employing in his poetical compositions the smooth and inoffensive allowable rhyme.