Karl Steffey

“You shall be my roots and
I will be your shade,
though the sun burns my leaves.

You shall quench my thirst and
I will feed you fruit,
though time takes my seed.

And when I'm lost and can tell nothing of this earth
you will give me hope.

And my voice you will always hear.
And my hand you will always have.

For I will shelter you.
And I will comfort you.
And even when we are nothing left,
not even in death,
I will remember you.”
― Mark Z. Danielewski, House of Leaves

“All the speed he took, all the turns he'd taken and the corners he'd cut in Night City, and still he'd see the matrix in his sleep, bright lattices of logic unfolding across that colorless void...”
― William Gibson, Neuromancer

“Want your boat, Georgie?' Pennywise asked. 'I only repeat myself because you really do not seem that eager.' He held it up, smiling. He was wearing a baggy silk suit with great big orange buttons. A bright tie, electric-blue, flopped down his front, and on his hands were big white gloves, like the kind Mickey Mouse and Donald Duck always wore.

Yes, sure,' George said, looking into the stormdrain.

And a balloon? I’ve got red and green and yellow and blue...'

Do they float?'

Float?' The clown’s grin widened. 'Oh yes, indeed they do. They float! And there’s cotton candy...'

George reached.

The clown seized his arm.

And George saw the clown’s face change.
What he saw then was terrible enough to make his worst imaginings of the thing in the cellar look like sweet dreams; what he saw destroyed his sanity in one clawing stroke.

They float,' the thing in the drain crooned in a clotted, chuckling voice. It held George’s arm in its thick and wormy grip, it pulled George toward that terrible darkness where the water rushed and roared and bellowed as it bore its cargo of storm debris toward the sea. George craned his neck away from that final blackness and began to scream into the rain, to scream mindlessly into the white autumn sky which curved above Derry on that day in the fall of 1957. His screams were shrill and piercing, and all up and down Witcham Street people came to their windows or bolted out onto their porches.

They float,' it growled, 'they float, Georgie, and when you’re down here with me, you’ll float, too–'

George's shoulder socked against the cement of the curb and Dave Gardener, who had stayed home from his job at The Shoeboat that day because of the flood, saw only a small boy in a yellow rain-slicker, a small boy who was screaming and writhing in the gutter with muddy water surfing over his face and making his screams sound bubbly.

Everything down here floats,' that chuckling, rotten voice whispered, and suddenly there was a ripping noise and a flaring sheet of agony, and George Denbrough knew no more.

Dave Gardener was the first to get there, and although he arrived only forty-five seconds after the first scream, George Denbrough was already dead. Gardener grabbed him by the back of the slicker, pulled him into the street...and began to scream himself as George's body turned over in his hands. The left side of George’s slicker was now bright red. Blood flowed into the stormdrain from the tattered hole where his left arm had been. A knob of bone, horribly bright, peeked through the torn cloth.

The boy’s eyes stared up into the white sky, and as Dave staggered away toward the others already running pell-mell down the street, they began to fill with rain.”
― Stephen King, It

“It was the pivotal teaching of Pluthero Quexos, the most celebrated dramatist of the Second Dominion, that in any fiction, no matter how ambitious its scope or profound its theme, there was only ever room for three players. Between warring kings, a peacemaker; between adoring spouses, a seducer or a child. Between twins, the spirit of the womb. Between lovers, Death. Greater numbers might drift through the drama, of course -- thousands in fact -- but they could only ever be phantoms, agents, or, on rare occasions, reflections of the three real and self-willed beings who stood at the center. And even this essential trio would not remain intact; or so he taught. It would steadily diminish as the story unfolded, three becoming two, two becoming one, until the stage was left deserted.”
― Clive Barker, Imajica