“Imagination is the source of every form of human achievement. And it's the one thing that I believe we are systematically jeopardizing in the way we educate our children and ourselves.”

Source: War Whether We Need It Or Not? (1991)

Sect. V : An Enquiry into the Duty of Christians in general, and what Means ought to be used, in order to promote this Work.
An Enquiry into the Obligations of Christians (1792)
Context: Many can do nothing but pray, and prayer is perhaps the only thing in which Christians of all denominations can cordially, and unreservedly unite; but in this we may all be one, and in this the strictest unanimity ought to prevail. Were the whole body thus animated by one soul, with what pleasure would Christians attend on all the duties of religion, and with what delight would their ministers attend on all the business of their calling.
We must not be contented however with praying, without exerting ourselves in the use of means for the obtaining of those things we pray for. Were the children of light, but as wise in their generation as the children of this world, they would stretch every nerve to gain so glorious a prize, nor ever imagine that it was to be obtained in any other way.

Reported in Josiah Hotchkiss Gilbert, Dictionary of Burning Words of Brilliant Writers (1895), p. 51.

The Emotion Machine (2006)

"Vestigial Instincts in Man", pp. 127–128
Savage Survivals (1916), Savage Survivals in Higher Peoples (Continued)

"Introduction" of Four Screenplays (1960). <!-- Simon & Schuster -->
Context: When we experience a film, we consciously prime ourselves for illusion. Putting aside will and intellect, we make way for it in our imagination. The sequence of pictures plays directly on our feelings. Music works in the same fashion; I would say that there is no art form that has so much in common with film as music. Both affect our emotions directly, not via the intellect. And film is mainly rhythm; it is inhalation and exhalation in continuous sequence. Ever since childhood, music has been my great source of recreation and stimulation, and I often experience a film or play musically.

Variant: I think sometimes we are reckless with our hearts the way we are with our lives. When we give them away, we give every piece. And if we do not get what we so desperately need, how do we live?
Source: City of Heavenly Fire

"Society, Morality and the Novel" (1957), in The Collected Essays, ed. John F. Callahan (New York: Modern Library, 1995), pp. 699-700.
Context: Perhaps the novel evolved in order to deal with man's growing awareness that behind the facade of social organisations, manners, customs, myths, rituals and religions of the post-Christian era lies chaos. Man knows, despite the certainties which it is the psychological function of his social institutions to give him, that he did not create the universe, and that the universe is not at all concerned with human values. Man knows that even in this day of marvelous technology and the tenuous subjugation of the atom, that nature can crush him, and that at the boundaries of human order the arts and the instruments of technology are hardly more than magic objects which serve to aid us in our ceaseless quest for certainty. We cannot live, as someone has said, in the contemplation of chaos, but neither can we live without an awareness of chaos, and the means through which we achieve that awareness, and through which we assert our humanity most significantly against it, is in great art. In our time the most articulate art form for defining ourselves and for asserting our humanity is the novel. Certainly it is our most rational art form for dealing with the irrational.