“Like all fundamentalists who get their clammy hands on the levers of power, the market fanatics are going to kill off every humane, life-enhancing, generous, imaginative and decent corner of our public life.... Market fundamentalism, this madness that's infected the human race, is like a greedy ghost that haunts the boardrooms and council chambers and committee rooms from which the world is run these days. The greedy ghost understands profit all right. But that's all. What he doesn't understand is enterprises that don't make a profit, because they're set up to do something different. He doesn't understand libraries at all....”

“The ultimate source is probably the tendency in some of us, part of our psychological inheritance from our far-distant ancestors, the tendency to look for extreme solutions, absolute truths, abstract answers. All fanatics and fundamentalists share this tendency, which is so alien and unpleasing to the rest of us. The theory says they must do such-and-such, so they do it, never mind the human consequences, never mind the social cost, never mind the terrible damage to the fabric of everything decent and humane.I’m afraid these fundamentalists of one sort or another will always be with us. We just have to keep them as far away as possible from the levers of power.”

“Tolkien, who created this marvellous vehicle, doesn't go anywhere in it. He just sits where he is. What I mean by that is that he always seems to be looking backwards, to a greater and more golden past; and what's more he doesn't allow girls or women any important part in the story at all. Life is bigger and more interesting than The Lord of the Rings thinks it is.”

“He meant the Kingdom was over, the Kingdom of Heaven, it was all finished. We shouldn't live as if it mattered more than this life in this world, because where we are is always the most important place.... We have to be all those difficult things like cheerful and kind and curious and patient, and we've got to study and think and work hard, all of us, in all our different worlds, and then we'll build... The Republic of Heaven.”

“Being a practiced liar doesn't mean you have a powerful imagination. Many good liars have no imagination at all; it's that which gives their lies such wide-eyed conviction.”

“From now on, every ghost who enters the world of the dead will have to come with a story, the story of his or her life, and tell it to the harpies. It doesn't have to be a big adventure; it can just be a description of a day playing with the children, like Lyra's, or whatever it might happen to be. In exchange for this true story, the harpies will lead that ghost outside to dissolve into the Universe and be one with everything else.Of course, I stole that, as I stole everything else! I stole that from the Oresteia -- the bargain Aeschylus's characters make with the Furies that are following them about. "You will be the guardians of this place, and we will worship you and we will give you honor," they say. Then the Furies are satisfied, and they leave off their pursuit of Orestes. There's nothing new in stories. It goes round again and again and again.But that was something that I thought was a good way out for Lyra, and it did reassert the value of story. States it fully and clearly, brings it out. And also the value of realistic story. It's got to be true. And there's a moral consequence; for those who have eyes to see, they can see it: you have to live. You have to experience things to have a story to tell, and if you spend all your life playing video games, that will not do.”

“This is the thing that takes me longest of all when I'm beginning a novel, to work out what the limits are, what the powers of the narrator will be, what is the appropriate tone to take. And where do I see things from: am I watching this, as it were, from stage right or stage left? That makes a difference. Mike Alfreds is an English director who has a company called Shared Experience. They do a lot of adaptations of novels. He's discovered that when they use a narrator, if they put the narrator stage right, the audience perceives the narrator as being somehow involved, warm, part of what's going on. If he puts the narrator stage left, the audience feels the narrator to be critical, detached....Ever since then, I have to say, whenever I do a conversation with someone on the stage, I take care to be stage right. But that's an aspect of where you're seeing it from, you see, whether the narrator is viewing the characters, as it were, sympathetically or, as it were, critically. This takes a while to discover for each book.”