“I don't like to make a distinction between the writer and the painter , finally , because I do both things anyway . Everybody's dreaming and trying to put down their dreams in the way that their hand knows best . I feel as much a unity , as much comradeship , with painters as I do writers .”

“Part of me thinks we're fools to trust either of the, Hapexamendios or His Reconciler. If He was such a loving God, why did He do so much harm? And don't tell me He moves in mysterious ways because that's so much horse shit and we both know it. ”

“I dreamed I spoke in another's language,I dreamed I lived in another's skin,I dreamed I was my own beloved,I dreamed I was a tiger's kin.I dreamed that Eden lived inside me,And when I breathed a garden came,I dreamed I knew all of Creation,I dreamed I knew the Creator's name.I dreamed--and this dream was the finest--That all I dreamed was real and true,And we would live in joy forever,You in me, and me in you.”

“I dreamed a limitless book,A book unbound,Its leaves scattered in fantastic abundance.On every line there was a new horizon drawn,New heavens supposed;New states, new souls.One of those souls,Dozing through some imagined afternoon,Dreamed these words.And needing a hand to set them down,Made mine.”

“I'm an inclusionist. I've always divided up (very, very broadly, I admit) the artistic instincts into the inclusionist and the exclusionist. The exclusionist is Raccine. The inclusionist is Shakespeare. I've always felt like I'd prefer to throw 45 things into the pot and hope that maybe 36 of them will taste good. You may choke on 9 of them. I'd rather do that than only have half that number of elements and each one perfect. That's because I know that people choke on different things.... I think that when I was a kid, the experience of things, the experience of just finding words for things, of finding somebody else's world and being able to leap into it and, like any world, you pick up the geography instantly. You expected the thing to unfold, you expected there to be valleys that upon entering that world you were barely aware of. For me a novel, particularly a large novel, one you put down at the end and think, 'Hell, that was interesting. I'm not sure I understood Chapters X, Y and Z, but maybe next time I read it or talk to someone about it, I will'... that's a very different experience to the immaculately formed, beautifully honed, finished 'art' thing.”

“Peter Pan has to be the book of my childhood. Come to think of it, it's the book of my adulthood too. It's a book which, in the reading of it, takes me back to editions that I've had and lost, with various illustrators' work in them. It brings back moments sitting reading it with my mother. It brings back my first contact with the Disney cartoon. It brings back standing in the play-yard when I was a kid, when the wind was really blowing, and closing my eyes, spreading my arms and pretending I could fly. It brings back childhood dreams of flying. It brings back the first encounter I ever had with an invented world... Never Never Land was really the first journey I took to an invented world which I believed in wholly and completely. I remember the immense solidarity that I felt with the Lost Boys, with Peter, with the Indians - how much I wanted to be a Red Indian - how much the saving of Tiger Lily meant to me as a kid, how much I wanted to one day wake up and save an Indian squaw from drowning.”

“Memory, prophecy, and fantasy—The past, the future, andThe dreaming moment between—Are all in one country,Living one immortal day.To know that is Wisdom.To use it is the Art.”