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Rotten Tommy
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by David Sodergren (Goodreads Author)
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Thomas Ligotti
“For optimists, human life never needs justification, no matter how much hurt piles up, because they can always tell themselves that things will get better. For pessimists, there is no amount of happiness—should such a thing as happiness even obtain for human beings except as a misconception—that can compensate us for life’s hurt. As a worst-case example, a pessimist might refer to the hurt caused by some natural or human-made cataclysm. To adduce a hedonic counterpart to the horrors that attach to such cataclysms would require a degree of ingenuity from an optimist, but it could be done. And the reason it could be done, the reason for the eternal stalemate between optimists and pessimists, is that no possible formula can be established to measure proportions and types of hurt and happiness in the world. If such a formula could be established, then either pessimists or optimists would have to give in to their adversaries.”
Thomas Ligotti, The Conspiracy Against the Human Race

William Gibson
“And, for an instant, she stared directly into those soft blue eyes and knew, with an instinctive mammalian certainty, that the exceedingly rich were no longer even remotely human.”
William Gibson, Count Zero

Bret Easton Ellis
“I kept staring into the blackness of the woods, drawn into the darkness as I always had been. I suddenly realized how alone I was. (But this is how you travel, the wind whispered back, this is how you've always lived.)”
Bret Easton Ellis, Lunar Park

Thomas Ligotti
“This, then, is the ultimate, that is only, consolation: simply that someone shares some of your own feelings and has made of these a work of art which you have the insight, sensitivity, and — like it or not — peculiar set of experiences to appreciate. Amazing thing to say, the consolation of horror in art is that it actually intensifies our panic, loudens it on the sounding-board of our horror-hollowed hearts, turns terror up full blast, all the while reaching for that perfect and deafening amplitude at which we may dance to the bizarre music of our own misery.”
Thomas Ligotti, The Nightmare Factory

Stephen  King
“Laughing. Kicking. Clapping on the beat. Feeling her somewhere behind him, doing the same. Wondering if she wanted as badly as he did to be out of here, to be in the dark, to be alone in the dark, where he could put his false face aside before the real one beneath could grow hot enough to set it afire.”
Stephen King, Wizard and Glass

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