Thomas Ligotti

"The only value of this world lay in its power - at certain times - to suggest another world."

"I'm completely indifferent to what genre I read provided that I feel sympathy with how a writer perceives being alive in the world."

"To be sane, he held, was either to be sedated by melancholy or activated by hysteria, two responses which were 'always and equally warranted for those of sound insight'. All others were irrational, merely symptoms of imaginations left idle, of memories out of work. And above these mundane responses, the only elevation allowable, the only valid transcendence, was a sardonic one: a bliss that annihilated the universe with jeers of dark joy, a mindful ecstasy. Anything else in the way of 'mysticism' was a sign of deviation or distraction, and a heresy to the obvious. (“The Medusa”)"

"All things considered, the happiest epitaph to have etched on one's headstone is this: 'He never knew what hit him'."

"When I first read Lovecraft around 1971, and even more so when I began to read about his life, I immediately knew that I wanted to write horror stories. I had read Arthur Machen before I read Lovecraft, and I didn’t have that reaction at all. It was what I sensed in Lovecraft’s works and what I learned about his myth as the “recluse of Providence” that made me think, “That’s for me!” I already had a grim view of existence, so there was no problem there. I was and am agoraphobic, so being reclusive was a snap. The only challenge was whether or not I could actually write horror stories. So I studied fiction writing and wrote every day for years and years until I started to get my stories accepted by small press magazines. I’m not comparing myself to Lovecraft as a person or as a writer, but the rough outline of his life gave me something to aspire to. I don’t know what would have become of me if I hadn’t discovered Lovecraft."

"To Eden with me you will not leave To live in a cottage of crazy, crooked eaves. In your own happy home you take care these nights; When you let your little cat in, please turn on the lights! Something scurries behind and finds a cozy place to stare, Something sent to you from paradise, with serpents to spare: Tongues flowering; they leap out laughing, lapping. Dissapear"

"The sinister, the terrible never deceive: the state in which they leave us is always one of enlightenment. And only this condition of vicious insight allows us a full grasp of the world, all things considered, just as a frigid melancholy grants us full possession of ourselves. We may hide from horror only in the heart of horror. (“The Medusa”)"

"In the recumbence of depression, your information-gathering system collates its intelligence and reports to you these facts: (1) there is nothing to do; (2) there is nowhere to go; (3) there is nothing to be; (4) there is no one to know. Without meaning-charged emotions keeping your brain on the straight and narrow, you would lose your balance and fall into an abyss of lucidity. And for a conscious being, lucidity is a cocktail without ingredients, a crystal clear concoction that will leave you hung over with reality. In perfect knowledge there is only perfect nothingness, which is perfectly painful if what you want is meaning in your life."

"No one at the factory can remember how long we’ve worked here, or how old we are, yet our pace and productivity continues to increase. It seems as if neither the company nor our temporary supervisor will ever be done with us. Yet we are only human beings, or at least physical beings, and one day we must die. This is the only retirement we can expect, even though none of us is looking forward to that time. For we can’t keep from wondering what might come afterward - what the company could have planned for us, and the part our temporary supervisor might play in that plan. Working at a furious pace, fitting together those small pieces of metal, helps keep our minds off such things."

"Best-selling horror fiction is indeed necessarily conservative because it must entertain a large number of readers. It’s like network television. I’m your local cable access station."

"The ‘experimental’ writer, then, is simply following the story’s commands to the best of his human ability. The writer is not the story, the story is the story. See? Sometimes this is very hard to accept and sometimes too easy. On the one hand, there’s the writer who can’t face his fate: that the telling of a story has nothing at all to do with him; on the other hand, there’s the one who faces it too well: that the telling of the story has nothing at all to do with him"