“I think fantasy is best described as a kind of fiction that evokes wonder, mystery or magic, a sense of possibility beyond the ordinary world in which we live, and yet which reflects and comments upon that known world.”

Aunt Jane’s Nieces and Uncle John (1911)
Novels published under the pseudonym Edith van Dyne
Context: I think the world is like a great mirror, and reflects our lives just as we ourselves look upon it. Those who turn sad faces toward the world find only sadness reflected. But a smile is reflected in the same way, and cheers and brightens our hearts. You think there is no pleasure to be had in life. That is because you are heartsick and — and tired, as you say. With one sad story ended you are afraid to begin another — a sequel — feeling it would be equally sad. But why should it be? Isn't the joy or sorrow equally divided in life?

mass merchandising, advertising, politics conducted as a branch of advertising, the instant translation of science and technology into popular imagery, the increasing blurring and intermingling of identities within the realm of consumer goods, the preempting of any free or original imaginative response to experience by the television screen. We live inside an enormous novel. For the writer in particular it is less and less necessary for him to invent the fictional content of his novel. The fiction is already there. The writer's task is to invent the reality.
"Introduction" to the French edition (1974) of Crash (1973); reprinted in Re/Search no. 8/9 (1984)
Crash (1973)

On how physics fits into his works in “In the Author’s Universe: Interview with Sci-Fi Author Cixin Liu” https://vocal.media/futurism/in-the-authors-universe-interview-with-sci-fi-author-cixin-liu in Vocal (2016)

Source: Man Against Mass Society (1952), p. 132

Kulturphilosophie (1923), Vol. 2 : Civilization and Ethics
Context: Affirmation of the world, which means affirmation of the will-to-live that manifests itself around me, is only possible if I devote myself to other life. From an inner necessity, I exert myself in producing values and practising ethics in the world and on the world even though I do not understand the meaning of the world. For in world- and life-affirmation and in ethics I carry out the will of the universal will-to-live which reveals itself in me. I live my life in God, in the mysterious divine personality which I do not know as such in the world, but only experience as mysterious Will within myself.
Rational thinking which is free from assumptions ends therefore in mysticism. To relate oneself in the spirit of reverence for life to the multiform manifestations of the will-to-live which together constitute the world is ethical mysticism. All profound world-view is mysticism, the essence of which is just this: that out of my unsophisticated and naïve existence in the world there comes, as a result of thought about self and the world, spiritual self-devotion to the mysterious infinite Will which is continuously manifested in the universe.

On why young adult literature is so important in “Safer Is Not Always Better: An Interview With Stacey Lee” https://parnassusmusing.net/2019/08/13/interview-stacey-lee-downstairs-girl/ in Musing (2019 Aug 13)

1940s, "Autobiographical Notes" (1949)

Darkness, p. 91
Catching the Big Fish (2006)
Context: People have asked me why — if meditation is so great and gives you so much bliss — are my films so dark, and there's so much violence?
There are many, many dark things flowing around in this world right now, and most films reflect the world in which we live. They're stories. Stories are always going to have conflict. They're going to have highs and lows, and good and bad.
I fall in love with certain ideas. And I am where I am. Now, if I told you I was enlightened, and this is enlightened filmmaking, that would be another story. But I'm just a guy from Missoula, Montana, doing my thing, going down the road like everybody else.
We all reflect the world we live in. Even if you make a period film, it will reflect your times. You can see the way period films differ, depending on when they were made. It's a sensibility — how they talk, certain themes — and those things change as the world changes.
And so, even though I'm from Missoula, Montana, which is not the surrealistic capital of the world, you could be anywhere and see a kind of strangeness in how the world is these days, or have a certain way of looking at things.