American fiction writer (1926–2013)
He brushed his teeth carefully and used dental floss. He tried to take good care of his teeth because he was his own dentist now. Some things could go to pot, but not his health, he thought. Then why don’t you stop pouring alcohol into yourself? he thought. Why don’t you shut the hell up? he thought.
How shall I typify what happened? Passion play? Somewhat. Weird tale? Indubitably. Horror story? Pretty close. Grotesque melodrama? Certainly. Black comedy? Your point of view will determine that. Perhaps it was a combination of them all...
So, to the story. A chronicle of greed and cruelty, horror and rapacity, sadism and murder.
Love, American style.
Then he went into the dining room, consulting his watch. It was ten thirty already. More than half the morning was gone. More than half the time for sitting and trying to write the prose that would make people sit up and gasp. It happened that way more often now than he would even admit to himself. Sleeping late, making up errands, doing anything to forestall the terrible moment when he must sit down before his typewriter and try to wrench some harvest from the growing desert of his mind. (“Mad House”)
"Yet, despite all, it is a difficult thing to admit the existence of ghosts in a coldly factual world. One's very instincts rebel at the admission of such maddening possibility. For, once the initial step is made into the supernatural, there is no turning back, no knowing where the strange road leads except that it is quite unknown and quite terrible. ("Slaughter House")"
But are his needs any more shocking than the needs of other animals and men? Are his deeds more outrageous than the deeds of the parent who drained the spirit from his child? The vampire may foster quickened heartbeats and levitated hair. But is he worse than the parent who gave to society a neurotic child who became a politician?