Bruno Schulz quote: “My ideal goal is to "mature" into childhood. That would be genuine maturity.”

“We cannot rekindle the morning beams of childhood; we cannot recall the noontide glory of youth; we cannot bring back the perfect day of maturity; we cannot fix the evening rays of age in the shadowy horizon; but we can cherish that goodness which is the sweetness of childhood, the joy of youth, the strength of maturity, the honor of old age, and the bliss of saints.”

Henry Giles (1809–1882) Irish minister

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 287.

“Between childhood, boyhood, adolescence and manhood (maturity) there should be sharp lines drawn with tests, deaths, feats, rites, stories, songs, and judgments.”

Jim Morrison (1943–1971) lead singer of The Doors

“Almost all the great novels have as their motif, more or less disguised, the "passage from childhood to maturity", the clash between the thrill of expectation, and the disillusioning knowledge of the truth.”

André Maurois (1885–1967) French writer

The Art of Writing

“Fascism as a consequence of its Marxian and Sorelian patrimony... conjoined with the influence of contemporary Italian idealism, through which Fascist thought attained maturity, conceives philosophy as praxis.”

Giovanni Gentile (1875–1944) Italian neo-Hegelian Idealist philosopher and politician

Origini e dottrina del fascismo, Rome (1929) p. 58, A. James Gregor, The Ideology of Fascism: The Rationale of Totalitarianism, New York: NY, The Free Press (1969) p. 317

“Socialization was, in fact, the product of a maturation of trends already implicit in the earliest Fascist formulations. The trend that matured into socializations was already manifest by the time of the Second Convention of Syndical and Corporative Studies, held in Ferrara in May 1932. Its substance was provided by the persistent socialist and anti-bourgeois biases of radical national syndicalism conjoined with the totalitarian pretensions of neo-idealism.”

A. James Gregor (1929–2019) American political scientist

Source: The Ideology of Fascism: The Rationale of Totalitarianism, (1969), p. 293

“If we’re completely honest, not sentimental or nostalgic, we have no idea where childhood ends and maturity begins. It is one unending thread, not a life chopped up into sections out of touch with one another.”

P. L. Travers (1899–1996) Australian-British novelist, actress and journalist

The Paris Review interview (1982)
Context: I never wrote my books especially for children. … When I sat down to write Mary Poppins or any of the other books, I did not know children would read them. I’m sure there must be a field of “children’s literature” — I hear about it so often — but sometimes I wonder if it isn’t a label created by publishers and booksellers who also have the impossible presumption to put on books such notes as “from five to seven” or “from nine to twelve.” How can they know when a book will appeal to such and such an age?
If you look at other so-called children’s authors, you’ll see they never wrote directly for children. Though Lewis Carroll dedicated his book to Alice, I feel it was an afterthought once the whole was already committed to paper. Beatrix Potter declared, “I write to please myself!” And I think the same can be said of Milne or Tolkien or Laura Ingalls Wilder.
I certainly had no specific child in mind when I wrote Mary Poppins. How could I? If I were writing for the Japanese child who reads it in a land without staircases, how could I have written of a nanny who slides up the banister? If I were writing for the African child who reads the book in Swahili, how could I have written of umbrellas for a child who has never seen or used one?
But I suppose if there is something in my books that appeals to children, it is the result of my not having to go back to my childhood; I can, as it were, turn aside and consult it (James Joyce once wrote, “My childhood bends beside me”). If we’re completely honest, not sentimental or nostalgic, we have no idea where childhood ends and maturity begins. It is one unending thread, not a life chopped up into sections out of touch with one another.
Once, when Maurice Sendak was being interviewed on television a little after the success of Where the Wild Things Are, he was asked the usual questions: Do you have children? Do you like children? After a pause, he said with simple dignity: “I was a child.” That says it all.<!--
But don’t let me leave you with the impression that I am ungrateful to children. They have stolen much of the world’s treasure and magic in the literature they have appropriated for themselves. Think, for example, of the myths or Grimm’s fairy tales — none of which were written especially for them — this ancestral literature handed down by the folk. And so despite publishers’ labels and my own protestations about not writing especially for them, I am grateful that children have included my books in their treasure trove.