About the book: 2019 / “Incorrectly” interpreting works in the genre of horror literature as philosophical works, Eugene Tucker strives to discover in them not just the limit of thinking, but such a thought , which itself would be the limit - thought as a limit, as “a strange, enchanting abyss at the core of thinking itself.” For this purpose, he turns to extensive cinematic and literary material. To Japanese and South Korean horror films, zombie horror and slashers, film variations of Dante's Inferno. To the bestiaries of Dante and Lautreamont, the play of light and shadow by Fyodor Sologub, the black horror and pessimism of Thomas Ligotti, the spiral logic of Junji Ito, the natural horror of Algernon Blackwood, the exegesis of tentacles together with China Miéville and Vilém Flusser. But also to political philosophy and the apophatic tradition. And, of course, to Howard Lovecraft. The latter appears in Tucker as a critic of two basic concepts of horror - Kantian (HORROR = FEAR) and Heideggerian (HORROR = DEATH). Lovecraft, according to Tucker, produces "a shift from a purely human preoccupation with the feelings and fears of death to a strange inhuman thought beyond even misanthropy": horror no longer has any truth to communicate to humanity except the absence of truth itself. Tucker certifies this through the procedure of black insight, during which “non-human thought” on the path of its release undergoes the following transformations: non-human for humans, humans for non-humans, human/non-human as products of non-humans and, finally, non-human itself as a limit without any reserve and a mysterious revelation of the unthinkable. In the absolute apophatic darkness of incomprehensibility, indifference appears, enveloping any existing thing and being the most significant stake of the “Horror of Philosophy” project. Tentacles Longer Than the Night is the third volume in the Horror of Philosophy trilogy by American philosopher and researcher of media, biotechnology and the occult, Eugene Tucker. In this trilogy, horror and philosophy are presented in a situation of parallax - a constant displacement of the gaze between two areas, neither of which can normally be seen when the other is seen. As a result, the works of literature of supernatural horror are considered as ontological and cosmological constructions, and the constructions of philosophers as narratives that tell us something about the nature of the horror that lies “beyond” the human.