“It is as evil as we are positive...the more desperately we try to be good and wonderful and perfect, the more the Shadow develops a definite will to be black and evil and destructive... The fact is that if one tries beyond one's capacity to be perfect, the Shadow descends to hell and becomes the devil.”

“Where there is light, there must be shadow, where there is shadow there must be light. There is no shadow without light and no light without shadow.... We do not know if the so-called Little People are good or evil. This is, in a sense, something that surpasses our understanding and our definitions. We have lived with them since long, long ago-- from a time before good and evil even existed, when people's minds were still benighted.”

“Or more accurately, since we were in the plane, our shadows figured as well inside the shadow of the airplane skimming over mountain and field. Which would mean we too were imprinted into the earth.”

“Our hearts are not stones. A stone may disintegrate in time and lose its outward form. But hearts never disintegrate. They have no outward form, and whether good or evil, we can always communicate them to one another.”

“In this world, there is no absolute good, no absolute evil," the man said. "Good and evil are not fixed, stable entities, but are continually trading places. A good may be transformed into an evil in the next second. And vice versa. Such was the way of the world that Dostoevsky depicted in The Brothers Karamazov. The most important thing is to maintain the balance between the constantly moving good and evil. If you lean too much in either direction, it becomes difficult to maintain actual morals. Indeed, balance itself is the good.”

“So for all that we might speak words in each other's vicinity, this could never develop into anything that could be called a conversation. It was as though we were speaking in different languages. If the Dalai Lama were on his deathbed and the jazz musician Eric Dolphy were to try to explain to him the importance of choosing one's engine oil in accordance with changes in the sound of the bass clarinet, that exchange might have been more worthwhile and effective than my conversations with Noboru Wataya.”

“The harder I try to realistically portray real things, the more the things that appear in my work have a tendency to become unreal.”