“This book [Zen in the Art of Archery], by Herrigel, which I discovered a few years ago, seems to me fundamental to our profession as photographers. Matisse wrote similarly about drawing: set a discipline, make rigor a rule, forget oneself completely. And in photography the attitude must be the same: detach oneself, do not try to prove anything at all. My sense of freedom is the same: a frame that allows any variation. This is the basis of Zen Buddhism, the evidence: that you go in with great force and then you succeed in forgetting yourself.”

as cited in Zen Skin, Zen Marrow (Oxford: 2008), p. 134

Source: The Zen Teaching of Bodhidharma

Alan Watts, on Zen (2015) https://www.youtube.com/watch?v=eh-3FJs2pz8
Context: I want to make one thing absolutely clear. I am not a Zen Buddhist, I am not advocating Zen Buddhism, I am not trying to convert anyone to it. I have nothing to sell. I'm an entertainer. That is to say, in the same sense, that when you go to a concert and you listen to someone play Mozart, he has nothing to sell except the sound of the music. He doesn’t want to convert you to anything. He doesn’t want you to join an organization in favor of Mozart's music as opposed to, say, Beethoven's. And I approach you in the same spirit as a musician with his piano or a violinist with his violin. I just want you to enjoy a point of view that I enjoy.

À mes yeux, c’est seulement l’ascèse de la rigueur scientifique, ce détachement de soi qu’exige un jugement objectif et impartial, qui pourra nous donner le droit de nous impliquer nous-mêmes dans l’histoire, de lui donner un sens existentiel.
Preface to Nietzsche : Essai de mythologie (1990) by E. Bertram, p. 34

Japanese Death Poems. Compiled by Yoel Hoffmann. ISBN 978-0-8048-3179-6; Quoted in: Lawrence Winkler. Samurai Road. 2016. p. 25

The Paris Review interview (1982)
Context: My Zen master, because I’ve studied Zen for a long time, told me that every one (and all the stories weren’t written then) of the Mary Poppins stories is in essence a Zen story. And someone else, who is a bit of a Don Juan, told me that every one of the stories is a moment of tremendous sexual passion, because it begins with such tension and then it is reconciled and resolved in a way that is gloriously sensual. … A great friend of mine at the beginning of our friendship (he was himself a poet) said to me very defiantly, “I have to tell you that I loathe children’s books.” And I said to him, “Well, won’t you just read this just for my sake?” And he said grumpily, “Oh, very well, send it to me.” I did, and I got a letter back saying: “Why didn’t you tell me? Mary Poppins with her cool green core of sex has me enthralled forever.”

Source: The Fountainhead

Interview with William Warren Bartley, cited in [Bartley, William Warren, w:William Warren Bartley, Werner Erhard: the Transformation of a Man: the Founding of est, Clarkson N. Potter, Inc., 1978, New York, 121, 0-517-53502-5]

Quote in 'Silence: lectures and writings by Cage, John', Publisher Middletown, Conn. Wesleyan University Press, June 1961, x/SILENCE
1960s