“The theater troubled her. It had a magic of its own, one that didn’t belong to her, one that wasn’t in her control. It changed the world, and said things were otherwise than they were. And it was worse than that. It was magic that didn’t belong to magical people. It was commanded by ordinary people, who didn’t know the rules. They altered the world because it sounded better.”

“Perhaps the future belongs to magic, and it's we women who control magic.”

“I’ll always be broken,” I went on. “Because when I came here, no one fixed me. It’s not that they didn’t care to fix me. These crazy, wonderful people I met at Craneville didn’t fix me because they didn’t think I needed to be fixed. And it wasn’t because they were ‘crazy’…it was because they were the only people who knew that I could only face the world out there again as someone different. As someone who wasn’t perfect, who wasn’t normal, who didn’t have all the answers…someone who was somehow ‘fixed’ by being broken.”

“While the Eternal Feminine in Faust II still appears in personalized form as the Madonna, she works her effects in The Magic Flute as an invisible spiritual power, as music. But this music is the expression of divine love itself, which unites law and freedom, above and below, in the wisdom of the heart and of love. As harmony, it grants humankind divine peace and rules the world as the highest divinity.From the earliest times, magic and music have stood under the rule of the Archetypal Feminine, which in myth and fairy tale is also the mistress of transformation, intoxication, and enchanting sound. Thus it is quite understandable that it is precisely this feminine principle that bestows the magical instruments. The Orpheus motif of the magical taming of the animal energies through music belongs to her, for as mistress of the animals the Great Goddess rules the world of wild as well as tame creatures. She can transform things and people into animal form, tame the animal, and enchant it because, like music, she is able to make the tame wild and the wild tame with the power of her magic.”

“The Drowned Cities hadn’t always been broken. People broke it. First they called people traitors and said they didn’t belong. Said these people were good and those people were evil, and it kept going, because people always responded, and pretty soon the place was a roaring hell because no one took responsibility for what they did, and how it would drive others to respond.”

“She [Bernice] didn’t like anything that had an adult theme, with only one exception, her collection of erotic female memorabilia. They were all antiques, fragments of other women’s sexuality that was somehow easier to deal with than her own.”