26
" But on another, more potent level, the work of horror really is a dance—a moving, rhythmic search. And what it’s looking for is the place where you, the viewer or the reader, live at your most primitive level. The work of horror is not interested in the civilized furniture of our lives. Such a work dances through these rooms which we have fitted out one piece at a time, each piece expressing—we hope!—our socially acceptable and pleasantly enlightened character. It is in search of another place, a room which may sometimes resemble the secret den of a Victorian gentleman, sometimes the torture chamber of the Spanish Inquisition . . . but perhaps most frequently and most successfully, the simple and brutally plain hole of a Stone Age cave-dweller. Is horror art? On this second level, the work of horror can be nothing else; it achieves the level of art simply because it is looking for something beyond art, something that predates art: it is looking for what I would call phobic pressure points. The good horror tale will dance its way to the center of your life and find the secret door to the room you believed no one but you knew of—as both Albert Camus and Billy Joel have pointed out. The Stranger makes us nervous . . . but we love to try on his face in secret. "
― Stephen King , Danse Macabre
27
" Horror, terror, fear, panic: these are the emotions which drive wedges between us, split us off from the crowd, and make us alone. It is paradoxical that feelings and emotions we associate with the “mob instinct” should do this, but crowds are lonely places to be, we’re told, a fellowship with no love in it. The melodies of the horror tale are simple and repetitive, and they are melodies of disestablishment and disintegration . . . but another paradox is that the ritual outletting of these emotions seems to bring things back to a more stable and constructive state again. "
― Stephen King , Danse Macabre
33
" The resulting scrambling to get the next big shiver and shake novel produced some really terrible books. As a further result, the wave had begun to withdraw by the mid 70s, and more traditional bestsellers began to re-appear: stories of sex, big business, sex, spies, gay sex, doctors in trouble, kinky sex, historical romances, sexy celebrities, war stories, and sex. "
― Stephen King , Danse Macabre