“I thought of a labyrinth of labyrinths, of one sinuous spreading labyrinth that would encompass the past and the future and in some way involve the stars.”

1951 - 1968, The Creative Act', 1957
Context: Let us consider two important factors, the two poles of the creation of art: the artist on one hand, and on the other the spectator who later becomes the posterity; to all appearances the artist acts like a mediumistic being who, from the labyrinth beyond time and space, seeks his way out to a clearing.

Alaska Young and Miles "Pudge" Halter, p. 54
Looking for Alaska (2005)

The Garden of Forking Paths (1942), The Garden of Forking Paths

Source: The Hero with a Thousand Faces (1949), Chapter 1

1951 - 1968, The Creative Act', 1957

trans. Hollingdale, “Schopenhauer as educator,” § 3.3, p. 139
Untimely Meditations (1876)

Un hombre se propone la tarea de dibujar el mundo. A lo largo de los años puebla un espacio con imágenes de provincias, de reinos, de montañas, de bahías, de naves, de islas, de peces, de habitaciones, de instrumentos, de astros, de caballos y de personas. Poco antes de morir, descubre que ese paciente laberinto de líneas traza la imagen de su cara.
Epilogue
Variant translation: A man sets himself the task of portraying the world. Through the years he peoples a space with images of provinces, kingdoms, mountains, bays, ships, islands, fishes, rooms, instruments, stars, horses, and people. Shortly before his death, he discovers that that patient labyrinth of lines traces the image of his face.
Dreamtigers (1960)

"The Preserving Machine" (1953), The Collected Short Stories of Philip K. Dick, v.1: The Short Happy Life of the Brown Oxford (1987)

Episode 1, Opening introduction voice-over
The Power of Myth (1988)