“Telling the truth is a beautiful act even if the truth itself is ugly”

“I saw our future together compressed into a moment; our faces changing, desire having to cope and reinvent itself at each new stratum of familiarity; I saw the gradual dissolution of mutual mystery and romance, its succession by friendship and a sort of tranquil and supernatural loyalty; I felt - with great lightness of being - the bearability of the idea of death, if the life preceding it was bloodily commingled (in children) with hers. A humble little truth: build a truly good life and it will reward you with mastery of the fear of death. It was simple. Having committed to the building of a marriage and family, all sorts of truths came forward and offered themselves.”

“Your unavowed atrocities kill you from the inside out. What is the compulsion to tell the truth if not a moral compulsion? Jacqueline Delon had asked. She was wrong. It's a survival necessity. You can't live if you can't accept what you are, and you can't accept what you are if you can't say what you do. The power of naming, as old as Adam.”

“Thus she's discovered the Conradian truth: The first horror is there's horror. The second is you accommodate it...You do what you do because it's that or death.”

“No artist knows everything (yea, even this artist - piss-artist, con-artist, body-artist) but since every artist knows more than he can tell, all art is lying by omission.”

“Heaven's heard us down here, cackling at our piss-takes and chortling at our quips; I've seen the looks, the suspicion that they're missing out on it, this laughing malarkey. But they always turn away, Gabriel to horn practice, Michael to the weights. Truth is they're timid. If there was a safe way down--a fire escape (boom-boom)--there'd be more than a handful of deserters tiptoeing down to my door. Abandon hope all ye who enter here, yes--but get ready for a rart ol' giggle, dearie.”

“She understood the genre constraints, the decencies were supposed to be observing. The morally cosy vision allows the embrace of monstrosity only as a reaction to suffering or as an act of rage against the Almighty. Vampire interviewee Louis is in despair at his brother’s death when he accepts Lestat’s offer. Frankenstein’s creature is driven to violence by the violence done to him. Even Lucifer’s rebellion emerges from the agony of injured price. The message is clear: By all means become an abomination—but only while unhinged by grief or wrath.”