The Thing cannot be described - there is no language for such abysms of shrieking and immemorial lunacy, such eldritch contradictions of all matter, force, and cosmic order. A mountain walked or stumbled.

If I say that my somewhat extravagant imagination yielded simultaneous pictures of an octopus, a dragon, and a human caricature, I shall not be unfaithful to the spirit of the thing. A pulpy, tentacled head surmounted a grotesque and scaly body with rudimentary wings; but it was the general outline of the whole which made it most shockingly frightful.

Perhaps that had been one of the ineradicable faults of mankind - for even a convinced atheist had to admit there were faults - that it was never content with a thing as a thing; it had to turn things into symbols of other things. A rainbow was never only a rainbow; a storm was a sign of celestial anger; and even from the puddingy earth came forth dark chthonian gods. What did it all mean? What an agnostic believed and what the willowy parson believed were not only irreconcilable systems of thought: they were equally valid systems of thought because, somewhere along the evolutionary line, man, developing this habit of thinking of symbols, had provided himself with more alternatives than he could manage. Animals moved in no such channel of imagination - they copulated and they ate; but the the saint, bread was a symbol of life, as the phallus was to the pagan. The animals themselves were pressed into symbolic service - and not only in the medieval bestiaries, by any means.

Such a usage was a distortion, although man seemed unable to ratiocinate without it. That had been the trouble right from the beginning. Perhaps it had even been the beginning, back among the first men that man could never get clearly defined (for the early men, being also symbols, had to be either lumbering brutes, or timid noble savages, or to undergo some other interpretation). Perhaps the first fire, the first tool, the first wheel, the first carving in a limestone cave, had each possessed a symbolic rather than a practical value, had each been pressed to serve distortion rather than reality. It was a sort of madness that had driven man from his humble sites on the edges of woods into towns and cities, into arts and wars, into religious crusades, into martyrdom and prostitution, into dyspepsia and fasting, into love and hatred, into this present cul-de-sac; it had all come about in pursuit of symbols. In the beginning was the symbol, and darness was over the face of the Earth.

The sight of it made the earth seem unearthly. They were accustomed to look upon the shackled form of a conquered monster, but there — there you could look at a thing monstrous, beautiful, and free.

seemed instinct with a fearsome and unnatural malignancy, was of a somewhat bloated corpulence, and squatted evilly on a rectangular block or pedestal covered with undecipherable characters.

When I was a child, I imagined the soul to be a dragon, a shadow floating in the air like blue smoke — a huge winged creature, half bird, half fish. But inside the dragon, everything was red.

I own a little book written by Jacques-Albin-Simon Collin de Plancy (1793–1887), A Dictionary of Demonology, that has long beguiled me. It catalogs all sorts of spooky spirits, from a Neopolitan pig with the head of a man to Adram-melech, “grand chancellor of hell,” whom the Assyrians worshiped with infant sacrifices and who, learned rabbis said, took the shape of either a mule or a peacock, which runs a gamut of pretty versatile disguises. Amduscias, a grand duke of hell, is shaped like a unicorn — and gives concerts.

Monsters are variations from the accepted normal to a greater or a less degree. As a child may be born without an arm, so one may be born without kindness or the potential of conscience. A man who loses his arms in an accident has a great struggle to adjust himself to the lack, but one born without arms suffers only from people who find him strange. Having never had arms, he cannot miss them. Sometimes when we are little we imagine how it would be to have wings, but there is no reason to suppose it is the same feeling birds have. No, to a monster the norm must seem monstrous, since everyone is normal to himself. To the inner monster it must be even more obscure, since he has no visible thing to compare with others. To a man bor without conscience, a soul-stricken man must seem ridiculous. To a criminal, honesty is foolish. You must not forget that a monster is only a variation, and that to a monster the norm is monstrous.

Monsters come in all shapes and sizes. Some of them are things people are scared of. Some of them are things that look like things people used to be scared of a long time ago. Sometimes monsters are things people should be scared of, but they aren't.

the human imagination soon got caught up in the most ridiculous ichthyological fantasies.

But if it so happens ... a work ... under pain of otherwise becoming shameful or false, requires fantasy ... [and that] certain limbs or elements of a figure are altered by borrowing from other species, for example transforming into a dolphin the hinder end of a griffon or a stag ... these alterations will be excellent and the substitution, however unreal it may seem, deserves to be declared a fine invention in the genre of the monstrous.

When a painter introduces into this kind of work of art chimerae and other imaginary beings in order to divert and entertain the senses and also to captivate the eyes of mortals who long to see unclassified and impossible things, he shows himself more respectful of reason than if he produced the usual figures of men or of animals.

What is a monster? A being whose survival is incompatible with the existing order.

"Because humans are complicated beasts," the monster said.

You have to be an artist and a madman, a creature of infinite melancholy, with a bubble of hot poison in your loins and a super-voluptuous flame permanently aglow in your subtle spine (oh, how you have to cringe and hide!), in order to discern at once, by ineffable signs — the slightly feline outline of a cheekbone, the slenderness of a downy limbs, and other indices which despair and shame and tears of tenderness forbid me to tabulate — the little deadly demon among the wholesome children; she stands unrecognized by them and unconscious herself of her fantastic power.

The painting showed a hairless, oppressed creature with a head like an inverted pear, its hands clapped in horror to its ears, its mouth open in a vast, soundless scream. Twisted ripples of the creature's torment, echoes of its cry, flooded out into the air surrounding it; the man or woman, whichever it was, had become contained by its own howl. It had covered its ears against its own sound. The creature stood on a bridge and no one else was present; the creature screamed in isolation. Cut off by - or despite - its outcry.