Do Not Call Up Any

Slowly But Inexorably Crawling Upon My Consciousness And Rising Above Every Other Impression, Came A Dizzying Fear Of The Unknown; A Fear All The Greater Because I Could Not Analyse It, And Seeming To Concern A Stealthily Approaching Menace; Not Death, But Some Nameless, Unheard-of Thing Inexpressibly More Ghastly And Abhorrent.

I Can Look Back . . . At Two Distinct Periods Of Opinion Whose Foundations I Have Successively Come To Distrust - A Period Before 1919 Or So, When The Weight Of Classic Authority Unduly Influenced Me, And Another Period From 1919 To About 1925, When I Placed Too High A Value On The Elements Of Revolt, Florid Colour, And Emotional Extravagance Or Intensity.

That's Because Only A Real Artist Knows The Actual Anatomy Of The Terrible Or The Physiology Of Fear - The Exact Sort Of Lines And Proportions That Connect Up With Latent Instincts Or Hereditary Memories Of Fright, And The Proper Colour Contrasts And Lighting Effects To Stir The Dormant Sense Of Strangeness.

Unhappy Is He To Whom The Memories Of Childhood Bring Only Fear And Sadness.

The Moon Is Dark, And The Gods Dance In The Night; There Is Terror In The Sky, For Upon The Moon Hath Sunk An Eclipse Foretold In No Books Of Men Or Of Earth's Gods.