Anarchists

"Memories so treacherous..."

"I've demonstrated there's no difference between me and everyone else! All it takes is one bad day to reduce the sanest man alive to lunacy. That's how far the world is from where I am. Just one bad day."

"When you find yourself locked onto an unpleasant train of thought, heading for the places in your past where the screaming is unbearable, remember there's always madness. Madness is the emergency exit. You can just step outside, and close the door on all those dreadful things that happened. Forever."

"In the end? Nothing ends, Adrian. Nothing ever ends."

"We’re all puppets, Laurie. I’m just a puppet who can see the strings."

"I looked at the Rorschach blot. I tried to pretend it looked like a spreading tree, shadows pooled beneath it, but it didn’t. It looked more like a dead cat I once found, the fat, glistening grubs writhing blindly, squirming over each other, frantically tunneling away from the light. But even that is avoiding the real horror. The horror is this: In the end, it is simply a picture of empty meaningless blackness. We are alone. There is nothing else."

"It's a new world, Arcane... It's full of shopping malls... and striplights and software. The dark corners are being pushed back... a little more every day. We're things of the shadow, you and I... And there isn't as much shadow... as there used to be.."

"There is a house above the world, where the over-people gather. There is a man with wings like a bird. There is a man who can see across the planet and wring diamonds from its anthracite. There is a man who moves so fast that his life is an endless gallery of statues. In the house above the world, the over-people gather... And sit... And listen... ...To a dry, mad voice that whispers of Earthdeath."

"They were kept in the dark, squatting there with nothing to dwell upon beyond the fact they were unclean. Even the touch of their shadow would sour the land, blighting crops that grew there....At the end of their confinement they were led out blinking into the harsh and masculine glare of the sun. Their clothing was taken from them and destroyed. Their anger in darkness turning, unreleased, unspoken, its mouth a red wound..."

"Once we were very different — our psyches constantly at war — [so] we struck a bargain, a spiritual compromise. We would grow more like each other, there would be a balance, but a bargain with a demon is no bargain at all. Demons cheat; it is their nature. Oh yes, I have grown more like Etrigan, and he… he too has grown more like Etrigan."

"If you wear black, then kindly, irritating strangers will touch your arm consolingly and inform you that the world keeps on turning. They're right. It does. However much you beg it to stop. It turns and lets grenadine spill over the horizon, sends hard bars of gold through my window and I wake up and feel happy for three seconds and then I remember. It turns and tips people out of their beds and into their cars, their offices, an avalanche of tiny men and women tumbling through life... All trying not to think about what's waiting at the bottom. Sometimes it turns and sends us reeling into each other's arms. We cling tight, excited and laughing, strangers thrown together on a moving funhouse floor. Intoxicated by the motion we forget all the risks. And then the world turns... And somebody falls off... And oh God it's such a long way down. Numb with shock, we can only stand and watch as they fall away from us, gradually getting smaller... Receding in our memories until they're no longer visible. We gather in cemeteries, tense and silent as if for listening for the impact; the splash of a pebble dropped into a dark well, trying to measure its depth. Trying to measure how far we have to fall. No impact comes; no splash. The moment passes. The world turns and we turn away, getting on with our lives... Wrapping ourselves in comforting banalities to keep us warm against the cold. "Time's a great healer." "At least it was quick." "The world keeps turning. Oh Alec— Alec's dead."

"You can't kill a vegetable by shooting it in the head."

"Murder? Don't talk to me about murder. I invented murder!"

"There are people. There are stories. The people think they shape the stories, but the reverse is often closer to the truth."

"There is a red and angry world... Red things happen there. The world eats your wife... Eats your friends... Eats all the things... that make you human... And you become a monster. And the world... just keeps on eating."

"Maybe the world..has run out of room..for monsters."

"I don’t really feel, with the recent films, that they have stood by what I assumed were their original principles. So I asked for DC Comics to send all of the money from any future TV series or films to Black Lives Matter."

"I didn’t mean my experiments with comics to be immediately taken up as something that the whole industry should do. When I was doing things like ‘Watchmen,’ I was not saying that dark psychopathic characters are really cool, but that does seem to be the message that the industry took for the next 20 years."

"Now they’re called ‘graphic novels’, which sounds sophisticated and you can charge a lot more for them. What appealed to me most about comics is no more, and these innocent and inventive and imaginative superhero characters from the ’40s, ‘50s, ‘60s are being recycled to a modern audience as if they were adult fare."

"There's been a growing dissatisfaction and distrust with the conventional publishing industry, in that you tend to have a lot of formerly reputable imprints now owned by big conglomerates. As a result, there's a growing number of professional writers now going to small presses, self-publishing, or trying other kinds of [distribution] strategies. The same is true of music and cinema. It seems that every movie is a remake of something that was better when it was first released in a foreign language, as a 1960s TV show, or even as a comic book. Now you've got theme park rides as the source material of movies. The only things left are breakfast cereal mascots. In our lifetime, we will see Johnny Depp playing Captain Crunch."

"I suppose that the main drive is to find the edge of something and then throw myself over it."

"I did an interview where I was asked for the best advice I'd been given. I couldn'€™t think of anything, so I read from the back of a packet of Swan Vestas matches by the phone: "Keep in a dry place, keep away from children and strike gently away from the body." They'd written it up without any sense of irony."

"There is an inverse relationship between imagination and money."

"Sexually progressive cultures gave us mathematics, literature, philosophy, civilization and the rest, while sexually restrictive cultures gave us the Dark Ages and the Holocaust. Not that I’m trying to load my argument, of course."

"I saw no reason why you couldn't create a work of pornography that adhered to all the same standards as the best art or literature. The big difference between art and pornography is that art, at its best, makes you feel less alone. You see a painting or read a piece of writing that expresses a thought that you had but didn't express, and you suddenly feel less alone. Pornography, on the other hand, tends to engender feelings of self-disgust, isolation and wretchedness. I wanted to change that."

"Sex is glorious, it's how we all got here, and it's most people's favourite activity."

"If I write a crappy comic book, it doesn't cost the budget of an emergent Third World nation. When you've got these kinds of sums involved in creating another two hours of entertainment for Western teenagers, I feel it crosses the line from being merely distasteful to being wrong. To paint comic books as childish and illiterate is lazy. A lot of comic books are very literate — unlike most films."

"Originally I was content to just simply accept the money, that was offered when people had adapted my comic books into films. Eventually I decided to refuse to accept any of the money for the films, and to ask if my name could be taken off of them, so that I no longer had to endure the embarrasment of seeing my work travested in this manner. The first film that they made of my work was "From Hell" Which was an adaptation of my "Jack the Ripper" narrative … In which they replaced my gruff Dorset police constable with Johnny Depp's Absinthe-swigging dandy. The next film to be made from one of my books was the regrettable "League of Extraordinary Gentlemen"… Where the only resemblence it had to my book was a similar title. The most recent film that they have made of mine is apparently this new "V for Vendetta" movie which was probably the final straw between me and Hollywood. They were written to be impossible to reproduce in terms of cinema, and so why not leave them simply as a comic in the way that they were intended to be. And if you are going to make them into films, please try to make them into better ones, than the ones I have been cursed with thus far."

"I despise the comic industry, but I will always love the comic medium."

"The DC comics were always a lot more true blue. Very enjoyable, but they were big, brave uncles and aunties who probably insisted on a high standard of you know mental and physical hygiene. Whereas the Stan Lee stuff, the Marvel comics, he went from one-dimensional characters whose only characteristic was they dressed up in costumes and did good. Whereas Stan Lee had this huge breakthrough of two-dimensional characters. So, they dress up in costumes and do good, but they've got a bad heart. Or a bad leg. I actually did think for a long while that having a bad leg was an actual character trait."

"Now, as I understand it, the bards were feared. They were respected, but more than that they were feared. If you were just some magician, if you'd pissed off some witch, then what's she gonna do, she's gonna put a curse on you, and what's gonna happen? Your hens are gonna lay funny, your milk's gonna go sour, maybe one of your kids is gonna get a hare-lip or something like that — no big deal. You piss off a bard, and forget about putting a curse on you, he might put a satire on you. And if he was a skilful bard, he puts a satire on you, it destroys you in the eyes of your community, it shows you up as ridiculous, lame, pathetic, worthless, in the eyes of your community, in the eyes of your family, in the eyes of your children, in the eyes of yourself, and if it's a particularly good bard, and he's written a particularly good satire then, three hundred years after you're dead, people are still gonna be laughing at what a twat you were."

"Life isn’t divided into genres. It’s a horrifying, romantic, tragic, comical, science-fiction cowboy detective novel. You know, with a bit of pornography if you're lucky."

"Most of the people who get sent to die in wars are young men who've got a lot of energy and would probably rather, in a better world, be putting that energy into copulation rather than going over there and blowing some other young man's guts out."

"If there was no point to being offensive (as with a high number of comedians who frequent the average working men's club), then the perpetrator will either be squeezed out of business or be relegated to working in bottom-of-the-heap sleaze pits where nothing more than vulgarity is demanded. Alternately, if there was some integrity behind all the outrage, the perpetrators become persecuted legends with a fanatical cult following and generally exercise tremendous influence upon the artists that come after them. In comedy, Lenny Bruce is an example. In music, perhaps the Sex Pistols. In comic books, EC would fit the bill."

"Admittedly, I do have several bones... whole war fields full of bones, in fact... to pick with organised religion of whatever stripe. This should be seen as a critique of purely temporal agencies who have, to my mind, erected more obstacles between whatever notion of spirituality and Godhead one subscribes to than they have opened doors. To me, the difference between Godhead and the Church is the difference between Elvis and Colonel Parker... although that conjures images of God dying on the toilet, which is not what I meant at all."

"Truth is a well-known pathological liar. It invariably turns out to be Fiction wearing a fancy frock. Self-proclaimed Fiction, on the other hand, is entirely honest. You can tell this, because it comes right out and says, "I'm a Liar," right there on the dust jacket."

"The main thing that I learned about conspiracy theory is that conspiracy theorists actually believe in a conspiracy because that is more comforting. The truth of the world is that it is chaotic. The truth is, that it is not the Jewish banking conspiracy or the grey aliens or the 12-foot reptiloids from another dimension that are in control. The truth is more frightening, nobody is in control. The world is rudderless."

"I've no objection to the term 'graphic novel,' as long as what it is talking about is actually some sort of graphic work that could conceivably be described as a novel. My main objection to the term is that usually it means a collection of six issues of Spider-Man, or something that does not have the structure or any of the qualities of a novel, but is perhaps roughly the same size."

"Yes, there is a conspiracy, in fact there are a great number of conspiracies that are all tripping each other up. And all of those conspiracies are run by paranoid fantasists and ham-fisted clowns. If you are on a list targeted by the CIA, you really have nothing to worry about. If however, you have a name similar to somebody on a list targeted by the CIA, then you are dead."

"I'm not a millionaire but I'm very comfortable doing what I do, and I'm more productive now than I was in my mid-20s. It's all down to functionality eventually. If you're functional it doesn't matter if you're mad."

"It struck me that it might be interesting for once to do an almost blue-collar warlock. Somebody who was streetwise, working class, and from a different background than the standard run of comic book mystics. Constantine started to grow out of that."

"It doesn’t even matter if we ever fire these missiles or not. They are having their effect upon us because there is a generation growing up now who cannot see past the final exclamation mark of a mushroom cloud. They are a generation who can see no moral values that do not end in a crackling crater somewhere. I’m not saying that nuclear bombs are at the root of all of it, but I think it is very, very naïve to assume that you can expose the entire population of the world to the threat of being turned to cinders without them starting to act, perhaps, a little oddly. I believe in some sort of strange fashion that the presence of the atom bomb might almost be forcing a level of human development that wouldn’t have occurred without the presence of the atom bomb. Maybe this degree of terror will force changes in human attitudes that could not have occurred without the presence of these awful, destructive things. Perhaps we are faced with a race between the Four Horseman of the Apocalypse in one line and the 7th Cavalry in the other. We have not got an awful lot of mid ground between Utopia and Apocalypse, and if somehow our children ever see the day in which it is announced that we do not have these weapons any more, and that we can no longer destroy ourselves and that we’ve got to do something else to do with our time than they will have the right to throw up their arms, let down their streamers and let forth a resounding cheer."

"History is the in-rushing toward what the Buddhists call the realm of the densely packed, a transformational realm where the opposites are unified."

"Tony Vigorito: Terence McKenna was fond of saying that the world is made of language. As a master wordsmith and a personal friend of Terence, what do you take this notion to mean? Tom Robbins: Regrettably, Terence and I never discussed this notion specifically, but my sense is that he was getting at something more profound than are the texturalists, who contend that nothing ever written matters or even exists outside of the text: the actual words an author has put down on the page. And likewise more profound than Wittgenstein, who famously said, "All I know is what I have words for." What seems likely is that Terence was not only contending that the universe is a genetic, extra-dimensional, interspecies verbal construct, but that it exists primarily as a result of our consciousness of it. What he may actually have been implying is, "the world is made of imagination." There is, after all, a possibility that when it comes to consensual reality, we're making it up. All of it. And language is the universal medium by which we identify and explain our creation to ourselves. Language lends reality to reality. I do recall hearing Terence say once that everything in nature has stories to tell; not just scientific information to impart, mind you, but something akin to plot-line narration, if one is equipped to "read" it."

"A cyclone of unorthodox ideas capable of lifting almost any brain out of its cognitive Kansas."

"Surely the fact that Terence McKenna says that the psilocybin mushroom 'is the megaphone used by an alien, intergalactic Other to communicate with mankind' is enough for us to wonder if taking LSD has done something to his mental faculties."

"The psychedelic community has not yet recognized or named itself as a community. We are well behind gays and black people and all those other mi-...we are still trying to figure out if we are a community. And if we are a community, and we have a domain of action, I think where it lies - it's not that we are all supposed to become dope dealers, it's that we are all supposed to become artists; that the transformation of culture through art is the proper understanding of what you can do with psychedelics besides blow your own mind. And I really think, you know, what we need to do is put the art-pedal to the floor, and understand that this is art - we are involved in some kind of enormous piece of performance art called Western civilization and, you know, it's been a C-minus performance so far... And they are just about to reach out with the hook and drag us offstage, unless we begin pulling rabbits out of the hat pretty furiously."

"To my mind this makes psychedelics central to any political reconstruction, because these are the only force in nature that actually dissolve linguistics structures; lets the mechanics of syntax to be visible, allows the possibility for rapid introduction and spread of new concepts; gives permission for new ways of seeing; and this is what we have to do, we have to change our minds."

"People had group values, because the children were group-owned. and that made a tremendous difference in the way the society imaged it self. people lived for the group, and in the core of the group were the children, and people always put them first. So everyone identified with the children, everybody was willing to face risk to preserve the younger gene pool. This concern for male paternity is really a poisonous factor..."

"You need an Ego, if you didn't have an ego you wouldn't know who's mouth to put food in, when eating in a restaurant."