This is not to absolve the world of its ugliness, or to deny that truly fearful things exist in it. But some of these things can be overcome–on the condition that we build an aesthetic on the overcoming rather than the fear.
I recently attended a gay dance/poetry performance of uncompromising hipness: the one black dancer in the troupe had to pretend to fuck a dead sheep.
Part of my self-induced stupidity, I confess, is to believe (& even feel) that art can change me, & change others. That’s why I write pornography & propaganda–to cause change. Art can never mean as much as a love affair, perhaps, or an insurrection. But…to a certain extent…it works.
Hakim Bey, The Temporary Autonomous Zone, Against the Reproduction of Death
To me the mythos is stagnant, boring, and festering. Hardly any new ideas are brought in because too many people are trying to write like Lovecraft or perpetuate the same conventions, but they’re doing it by maintaining the status quo and not offering anything new. And quite frankly, I for one am sick of the same-old, same-old. The same product in a new package doesn’t fly anymore with me, and just the sheer commercialism of the franchise on whole has soured me to it. Not that commercialism is bad, but some of the conventions lumped under it using the mythos are.
Comment by Werecat on Who Cares About the Cthulhu Mythos? in the Key 23 archive.
This is my fault for being the departmental computer guy: when the machines break, I wave my dead chicken and write voodoo words on their keyboards until they work again.
Charles Stross, The Atrocity Archives
Finding the right expression is always a fight: The writer in him wages battle against the editor; one is bold, the other—doubtful. They struggle inside him for control of his pen; one—to write, the other—to cross out.
Uvi Poznansky and Zeev Kachel, Home