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1 " In the end, this volume should be read a s a collection of love stories, Above all, they are tales of love, not the love with which so many stories end – the love of fidelity, kindness and fertility – but the other side of love, its cruelty, sterility and duplicity. In a way, the decadents did accept Nordau's idea of the artist as monster. But in nature, the glory and panacea of romanticism, they found nothing. Theirs is an aesthetic that disavows the natural and with it the body. The truly beautiful body is dead, because it is empty. Decadent work is always morbid, but its attraction to death is through art. What they refused was the condemnation of that monster. And yet despite the decadent celebration of artifice, these stories record art's failure in the struggle against natural horror. Nature fights back and wins, and decadent writing remains a remarkable account of that failure. "
― , The Decadent Reader: Fiction, Fantasy, and Perversion from Fin-de-Siècle France
2 " Like symbolism, decadence puts forth the idea that the function of literature is to evoke impressions and 'correspondences', rather than to realistically depict the world. ... the decadent aestheticized decay and took pleasure in perversity. In decadent literature, sickness is preferable to health, not only because sickness was regarded as more interesting, but because sickness was construed as subversive, as a threat to the very fabric of society. By embracing the marginal, the unhealthy and the deviant, the decadents attacked bourgeois life, which they perceived as the chief enemy of art. "
― Asti Hustvedt
3 " Adornment, exoticism, affectation are all willed decadent strategies meant to pervert the texts they made. Decadent texts often live in their descriptive excursions, in their evocation of dreams, mysterious places and states of mind, in their excess of words, not events. The surface of the texts, the sound of the words, point to themselves as manufactured, as illusion. The decadents attempted to create texts that announced themselves as artifice. "
4 " It is in this sense that Nietzsche is driven, against many explicit resolutions to the contrary, to be a No-sayer. For what the décadents who surround him are doing is to say No where they should be saying Yes, where they should be Dionysian; and what is leading them to this life-denying perversity, mostly of course unconsciously, is that they subscribe to a set of values that puts the central features of *this* world at a discount. Where they find suffering, they immediately look for someone to blame, and end up hating themselves, or generalize that into a hatred of " human nature" . They look for " peace of mind" , using it as a blanket term and failing to see the diversity of states, some of them desirable and some of them the reverse, which that term covers. They confuse cause and effect, thinking that the connection between virtue and happiness is that the former leads to the latter, whereas in fact the reverse is the case. They have, in Nietzsche's cruelly accurate phrase, " the vulgar ambition to possess generous feelings" (" Expeditions of an Untimely Man, number 6). They confuse breeding fine men with taming them. Throughout the major part of Twilight this devastating list of our vulgarities continues. "
