“Near about twelve my eyes suddenly opened — I had not opened them. The sleep was broken by something else. I felt a great presence around me in the room. It was a very small room. I felt a throbbing life all around me, a great vibration — almost like a hurricane, a great storm of light, joy, ecstasy. I was drowning in it. It was so tremendously real that everything became unreal. The walls of the room became unreal, the house became unreal, my own body became unreal. Everything was unreal because now there was for the first time reality.”

Source: Terre des Hommes (1939), Ch. I : The Craft
Context: "Navigating by the compass in a sea of clouds over Spain is all very well, it is very dashing, but—"
And I was struck by the graphic image:
"But you want to remember that below the sea of clouds lies eternity."
And suddenly that tranquil cloud-world, that world so harmless and simple that one sees below on rising out of the clouds, took on in my eyes a new quality. That peaceful world became a pitfall. I imagined the immense white pitfall spread beneath me. Below it reigned not what one might think — not the agitation of men, not the living tumult and bustle of cities, but a silence even more absolute than in the clouds, a peace even more final. This viscous whiteness became in my mind the frontier between the real and the unreal, between the known and the unknowable. Already I was beginning to realize that a spectacle has no meaning except it be seen through the glass of a culture, a civilization, a craft. Mountaineers too know the sea of clouds, yet it does not seem to them the fabulous curtain it is to me.

Nature's God This is a statement derived from one in the Principia Discordia

The Complete Neurotic's Notebook (1981), Unclassified

The New Gods (1969)

Source: Dream of the Red Chamber (1958), p. 7

Source: 1930s, On my Painting (1938), pp. 12-13

Source: Memoirs of a Geisha

Source: Teatro Grottesco

Anathemas and Admirations (1987)