“In closing, I should like to cite a line from William Blake. “To see a world in a grain of sand - - - ” and allude to a possible parallel to see worlds in an electron.”

Preface of the 1969 edition of Fearful Symmetry : A Study of William Blake (1947)
"Quotes", Fearful Symmetry : A Study of William Blake (1947)
Context: I wrote Fearful Symmetry during the Second World War, and hideous as the time was, it provided some parallels with Blake's time which were useful for understanding Blake's attitude to the world. Today, now that reactionary and radical forces alike are once more in the grip of the nihilistic psychosis that Blake described so powerful in Jerusalem, one of the most hopeful signs is the immensely increased sense of the urgency and immediacy of what Blake had to say.

Source: The Tenth Circle

Song lyrics, Shot of Love (1981), Every Grain Of Sand

Space and Time (1909), Tr. Ganesh Prasad in: Bulletin of the Calcutta

54 min 55 sec
Cosmos: A Personal Voyage (1990 Update), Journeys in Space and Time [Episode 8]
Context: Those worlds in space are as countless as all the grains of sand on all the beaches of the earth. Each of those worlds is as real as ours and every one of them is a succession of incidents, events, occurrences which influence its future. Countless worlds, numberless moments, an immensity of space and time. And our small planet at this moment, here we face a critical branch point in history, what we do with our world, right now, will propagate down through the centuries and powerfully affect the destiny of our descendants, it is well within our power to destroy our civilization and perhaps our species as well. If we capitulate to superstition or greed or stupidity we could plunge our world into a time of darkness deeper than the time between the collapse of classical civilization and the Italian Renaissance. But we are also capable of using our compassion and our intelligence, our technology and our wealth to make an abundant and meaningful life for every inhabitant of this planet.

Part One, One
The Dud Avocado (1958)
Context: I stumbled across the Champs Élysées. I know it seems crazy to say, but before I actually stepped onto it (at what turned out to be the Étoile ) I had not even been aware of its existence. No, I swear it. I’d heard the words "Champs Élysées," of course, but I thought it was a park or something. I mean that’s what it sounds like, doesn’t it? All at once I found myself standing there gazing down that enchanted boulevard in the blue, blue evening. Everything seemed to fall into place. Here was all the gaiety and glory and sparkle I knew was going to be life if I could just grasp it.
I began floating down those Elysian Fields three inches off the ground, as easily as a Cocteau character floats through Hell. Luxury and order seemed to be shining from every street lamp along the Avenue; shining from every window of its toyshops and dress-shops and carshops; shining from its cafés and cinemas and theaters; from its bonbonneries and parfumeries and nighteries.… Talk about seeing Eternity in a Grain of Sand and Heaven in a Wild Flower; I really think I was having some sort of mystic revelation then. The whole thing seemed like a memory from the womb. It seemed to have been waiting there for me.
For some people history is a Beach or a Tower or a Graveyard. For me it was this giant primordial Toyshop with all its windows gloriously ablaze. It contained everything I’ve ever wanted that money can buy. It was an enormous Christmas present wrapped in silver and blue tissue paper tied with satin ribbons and bells. Inside would be something to adorn, to amuse, and to dazzle me forever. It was my present for being alive.

In Search of the Miraculous (1949)

Source: The Well of Loneliness

Strange Horizons interview (2004)
Context: I don't think all artists are mad, but there is statistical medical evidence that a lot of creative people suffer from various mood disorders. They fall somewhere on the spectrum of being bipolar, of being borderline autistic and so on. These things are there. Now of course these days you can go to college and when you come out you are a professional artist and you can run a gallery as a business and have a career. That is a very valid way for an artist to make a living. But it doesn't make for a very interesting story. It doesn't have a lot of mythic subtext. … For me a lot of the world really is like that. The scenes in my book that people describe as "such a hallucinatory sequence" … I don't see the world like that all the time, but I see the world like that a lot.
So what am I going to do about that? Am I going to go crazy? Am I going to institutionalize myself? Am I going to go and work in a cubicle as a telemarketer so that I don't give vent to that? Or am I going to take that and channel it into my work? It is a gift.