“I have featured and will always continue to feature my name prominently in all my enterprises.”

Half-Truths and One-And-A-Half Truths (1976)

Individual Liberty (1926), Passive Resistance

Source: The Age of Reason

Source: Infinite in All Directions (1988), Ch. 1 : In Praise of Diversity
Context: Science and religion are two human enterprises sharing many features. They share these features also with other enterprises such as art, literature and music. The most salient features of all these enterprises are discipline and diversity. Discipline to submerge the individual fantasy in a greater whole. Diversity to give scope to the infinite variety of human souls and temperaments. Without discipline there can be no greatness. Without diversity there can be no freedom. Greatness for the enterprise, freedom for the individual — these are the two themes, contrasting but not incompatible, that make up the history of science and the history of religion.

Apocalypse Descending (2002)
Context: I've always had numinous dreams, and a lot of them feature a Dionysian character I named The Boy in the Tree. He first came to me when I was seventeen: I had a dream that I was on a flat featureless plane, mist everywhere. Then there was a blinding flash of lightning, deafening thunder, and I fell to the ground. Someone reached out to touch the middle of my forehead with a finger: I opened my eyes, the mist was gone, and there he was: the boy in the tree, this beautiful demonic figure with mocking green eyes. After that he would appear in dreams, sitting up in a tree and talking to me, and I'd have this incredible wave of emotion, a feeling I've only ever had in dreams — the most amazingly intense combination of desire and loss and anticipation. Later I'd think (still dreaming) This is what I will feel when I die. And who knows? Maybe I will.
Then, while researching Winterlong, I found a reference to Dionysios of Boeotia, where the god was called the One in the Tree. So even though I rationally know there's no such thing as a Dionsyian god, or a universal unconscious, it's very, very easy for me to extrapolate them both from my own dream-experience. The roots of these myths of the dying or vegetative god are so ancient and so many that one can wander among them forever, I think, yet never find a single source. And the primary material in Greece is so fascinating and so dark — The Bacchae, what we know of the Dionysian and Eleusinian Mysteries — great stuff for writers.
For me personally, of course, Dionysos embodies all the themes that have always preoccupied me: mutable sexual identity, altered states of consciousness; madness, the theater, ecstacy.

Parisina, Stanza 13, reported in Bartlett's Familiar Quotations, 10th ed. (1919).

The Book of My Life (1930)
Context: I have accustomed my features always to assume an expression quite contrary to my feelings; thus I am able to feign outwardly, yet within know nothing of dissumulation. This habit is easy if compared to the practice of hoping for nothing, which I have bent my efforts toward acquiring for fifteen successive years, and have at last succeeded.<!--Ch. 13

Source: Catching Fire

Source: Odd Thomas (2003), Chapter 1; Odd Thomas's introduction