The idea of the paranoid style as a force in politics would have little contemporary relevance or historical value if it were applied only to men with profoundly disturbed minds. It is the use of paranoid modes of expression by more or less normal people that makes the phenomenon significant.

In fact, the idea of the paranoid style would have little contemporary relevance or historical value if it were applied only to people with profoundly disturbed minds. It is the use of paranoid modes of expression by more or less normal people that makes the phenomenon significant.

These writers illustrate the central preconception of the paranoid style — the existence of a vast, insidious, preternaturally effective international conspiratorial network designed to perpetrate acts of the most fiendish character.

As a member of the avant-garde who is capable of perceiving the conspiracy before it is fully obvious to an as yet unaroused public, the paranoid is a militant leader. He does not see social conflict as something to be mediated and compromised, in the manner of the working politician. Since what is at stake is always a conflict between absolute good and absolute evil, what is necessary is not compromise but the will to fight things out to a finish. Since the enemy is thought of as being totally evil and totally unappeasable, he must be totally eliminated–if not from the world, at least from the theatre of operations to which the paranoid directs his attention. This demand for total triumph leads to the formulation of hopelessly unrealistic goals, and since these goals are not even remotely attainable, failure constantly heightens the paranoid’s sense of frustration. Even partial success leaves him with the same feeling of powerlessness with which he began, and this in turn only strengthens his awareness of the vast and terrifying quality of the enemy he opposes.

A paranoid is someone who knows a little of what's going on.

The paranoid spokesman sees the fate of this conspiracy in apocalyptic terms — he traffics in the birth and death of whole worlds, whole political orders, whole systems of human values. He is always manning the barricades of civilization. He constantly lives at a turning point: it is now or never in organizing resistance to conspiracy. Time is forever just running out. Like religious millenarians, he expresses the anxiety of those who are living through the last days and he is sometimes disposed to set a date for the apocalypse. “Time is running out,” said Welch in 1951. “Evidence is piling up on many sides and from many sources that October 1952 is the fatal month when Stalin will attack.”4 The apocalypticism of the paranoid style runs dangerously near to hopeless pessimism, but usually stops short of it.

One of the impressive things about paranoid literature is the contrast between its fantasied conclusions and the almost touching concern with factuality it invariably shows. It produces heroic strivings for evidence to prove that the unbelievable is the only thing that can be believed.

paranoia is just a heightened sense of awareness

A paranoid is someone who knows a little of what's going on. A psychotic is a guy who's just found out what's going on.

Paranoia speaks to a deeper drive than fear. Paranoia is a defiant charge to a cold, unfeeling cosmos: “Hear me! I exist! I’m important!” Because after all, if someone is actually orchestrating the chaos of the universe against you personally, then you do matter. When no one seems to care anymore, at least “enemies” give you the comforting illusion that you count.

A paranoid man is a man who knows a little about what's going on.

The self-delusion that mysterious forces and persons unknown are conspiring against us is, surprisingly, a comforting belief, because it means we’re significant enough in this anarchic world to warrant someone’s enmity. That delusion saves us from the far more difficult to accept reality: that we’re not that important to anyone. That the universe just isn’t “into” us.
Paranoia is the emotive-psychestructure’s response to feeling ignored, unloved, or forgotten in an existence filled with random acts of destructive indifference emphasizing the inherent futility of life and struggle. If you’re ever to achieve serenity, ultimately you must accept that in such a vast cosmos, you simply don’t matter very much.

...Paranoid art, unlike paranoid persons, also distrusts itself. And so, paranoid art is the ultimate opposite, the urgent opposite, of complacent art.

Paranoia is a form of insanity which, Dr. Randoph told me, hasn’t any physical symptoms. It’s just a delusion supported by a systematic framework of rationalization. A paranoiac can be sane in every way except one.