Quotes about magic

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TV Series and Specials (Includes DVDs), Trick of the Mind (2004–2006)

Lama’at (Divine Flashes)

As quoted in Thoughts from Earth (2004) by James Randall Miller

Blank Space, written by Taylor Swift, Max Martin, and Shellback
Song lyrics, 1989 (2014)

Source: The Golden Bough (1890), Chapter 3, Sympathetic Magic.

Two excellent Persian translations are available.
When the Ayatollah Dictates Poetry http://www.aawsat.net/2015/07/article55344336/when-the-ayatollah-dictates-poetry, Ashraq Al-Awsat (Jul 11, 2015).

Source: The Golden Bough (1890), Chapter 4, Magic and Religion

Source: 1930s, "Empirical Sociology" (1931), p. 322

SGU, Podcast #78 – January 15th, 2007 http://www.theskepticsguide.org/podcast/sgu/78
The Skeptics' Guide to the Universe, Podcast, 2000s

Prospero's Books

quoted in Alan Rusbridger, "Music, Sense and Nonsense by Alfred Brendel review – a great pianist’s thoughts on his art", The Guardian, 24 September 2015

TV recordings of stage shows, Mind Reader – An Evening of Wonders (2009), Mind Reader – An Evening of Wonders tour brochure

Für die Romantiker und für die spekulative Philosophie bedeutete der Terminus kritisch: objektiv produktiv, schöpferisch aus Besonnenheit. Kritisch sein hieß die Erhebung des Denkens über alle Bindungen so weit treiben, daß gleichsam zauberisch aus der Einsicht in das Falsche der Bindungen die Erkenntnis der Wahrheit sich schwang.
The Concept of Criticism in German Romanticism (1919)

Interpreted.
Bartlett's Familiar Quotations (1919)

Anonymous saying, this is an inversion of the third of Arthur C. Clarke's three laws : "Any sufficiently advanced technology is indistinguishable from magic." It has been attributed to Niven, and even called "Niven's Law" by some, and to Terry Pratchett by others, but without any citation of an original source in either case, and the earliest occurrence yet located is in Keystone Folklore (1984) by the Pennsylvania Folklore Society.
Misattributed

Cassandra (1860)

Source: The Number of the Beast (1980), Chapter XVII : The world wobbled—, p. 151

The origins of the Boxer Uprising, Joseph Esherick, 1988, University of California Press, 289, 0520064593, 2010-6-28 http://books.google.com/books?id=jVESdBSMasMC&pg=PA289&dq=Perhaps+their+magic+is+not+to+be+relied+upon:+but+can+we+not+rely+on+the+hearts+and+minds+of+the+people%3F+Today+China+is+extremely+weak.+We+have+only+the+people's+hearts+and+minds+to+depend+upon.+If+we+cast+them+aside+and+lose+the+people's+hearts,+what+can+we&hl=en&ei=sRa2TOuXDsG88gaL9azjCw&sa=X&oi=book_result&ct=result&resnum=1&ved=0CCUQ6AEwAA#v=onepage&q=Perhaps%20their%20magic%20is%20not%20to%20be%20relied%20upon%3A%20but%20can%20we%20not%20rely%20on%20the%20hearts%20and%20minds%20of%20the%20people%3F%20Today%20China%20is%20extremely%20weak.%20We%20have%20only%20the%20people's%20hearts%20and%20minds%20to%20depend%20upon.%20If%20we%20cast%20them%20aside%20and%20lose%20the%20people's%20hearts%2C%20what%20can%20we&f=false,
[The Last Empress: The She-Dragon of China, Keith Laidler, 2003, John Wiley & Sons, 221, http://books.google.com/books?id=QLPZ7294oSIC&pg=PA221&dq=have+started+the+aggression,+and+the+extinction+of+our+nation+is+imminent++no+face+ancestors+death&hl=en&sa=X&ei=oGsLT5rpEqHu0gGY29nuBQ&ved=0CDAQ6AEwAA#v=onepage&q=rely%20on%20supernatural%20formulas%20heart%20people&f=false, 1-9-2011, 0470864265, Yehonala interrupted from her dominant position on the dais. 'If we cannot rely on the supternatural formulas, can we not rely upon the heart of the people? China is weak: the only thing we can depend upon is the heart of the people. If we lose that, how an we maintain our country?']
[Victor Purcell, The Boxer Uprising: A Background Study, https://books.google.com/books?id=2MeUoD9G9xAC&pg=PA250&dq=cannot+rely+charms+heart+people+lose&hl=en&sa=X&ved=0ahUKEwjH5tD7vvjLAhVFGx4KHR_SDiYQ6AEIHDAA#v=onepage&q=cannot%20rely%20charms%20heart%20people%20lose&f=false, 3 June 2010, Cambridge University Press, 978-0-521-14812-2, 250–]

Source: Liber Null & Psychonaut (1987), p. 15; this is a slight paraphrase of the definition of Aleister Crowley in Magick in Theory and Practice: Magick is the Science and Art of causing Change to occur in conformity with Will.

Source: Stations of the Tide (1991), Chapter 8, “Conversations in the Puzzle Palace” (p. 130)

Books, Confessions of a Conjuror (2010)

The House of Dust (1916 - 1917)

Part 2, Ch. 5
Anne of Windy Poplars (1936)

1990s, The Monarchy: A Critique of Britain's Favourite Fetish

Quote in Hepworth's letter to nl:Bram Hammacher, February 1955, cited in Barbara Hepworth, B. Hammacher, (first published 1968), revised edition, London, 1987, p. 117
1947 - 1960

Essay "Religion Allied to Progress" http://www.ucalgary.ca/~elsegal/363_Transp/Orthodoxy/SRHirsch.html

“An Unread Book”, p. 19
The Third Book of Criticism (1969)

The Wrongs of the Animal World, to Which is Subjoined the Speech of Lord Erskine on the Same Subject http://books.google.com/books?id=KVwPAAAAIAAJ&pg=PR5, London, 1839. p. vi-v; As cited in: animalrightshistory.org http://animalrightshistory.org/animal-rights-c1837-1901/victorian-m/mus-david-muschet/1839-wrongs-animal-world.htm, 2014

As quoted in Guitar World (1996).
1990s

Source: Addiction to Perfection (1982), p. 11

Crimethink and Thinking Ability http://takimag.com/article/crimethink_and_thinking_ability/print#ixzz4A9b8oqAe, Taki's Magazine, January 30, 2012

"12th Foundational Falsehood of Creationism" https://www.youtube.com/watch?v=2TkY7HrJOhc Youtube (April 19, 2008)
Youtube, Foundational Falsehoods of Creationism

Source: Are We Getting Smarter?: Rising IQ in the Twenty-First Century (2012), p. 36, Box 4

Alan Moore on Anarchism (2009)

167-8 ; as cited in Albert Lepawsky (1949), Administration, p. 220-1
Systematic Politics, 1943

The Pathfinder (1998)

Quote of Werefkin from Briefe an einen Unbekannten, 1901-1905. Köln, 1960, p. 19; as cited in M. K. ČIURLIONIS AND MARIANNE VON WEREFKIN: THEIR PATHS AND WATERSHEDS, by Laima Lauckaité; Institute of Culture, Philosophy and Art, Vilnius
1895 - 1905

Leoš Janáček: Letters and Reminiscences (Stedron, Bohumir, ed. Translated by Geraldine Thomsen. Prague: Artia, 1995).

Who's Afraid of Beowulf? (1988)

Interview in Rolling Stone (9 November 1967)

"Statement for the Paterson Society" (1961), as quoted in David Kherdian, Six Poets of the San Francisco Renaissance: Portraits and Checklists (1967), p. 52. Snyder repeated the first part of this quote (up to "… common work of the tribe.") in the introduction to the revised edition of Gary Snyder, Myths & Texts (1978), p. viii.

In 1969 Jara commented about the distinction between the commercialised ‘protest song phenomenon’ imported into Chile and the nature of the New Chilean Song Movement (NCC).
Jara, Joan (1983). Victor: An Unfinished Song. Jonathan Cape. ISBN 0-224-02954-1. p. 121

1915 - 1940
Source: a letter to art-seller in New York Pierre Matisse, [son of Henri Matisse, 19 February 1936]; the Pierre Matisse Gallery Archives, The Pierpont Morgan Library, New York MA 5020

Books, Absolute Magic - A Model for Powerful Close-Up Performance (2003) second edition

Power Of The Plus Factor (1987)

Source: The Golden Bough (1890), Chapter 29, The Myth of Adonis.

Source: 1960s, The Gutenberg Galaxy (1962), p. 288

Pagan Power in Modern Europe (1999)

The Scottish Himalaya Expedition (1951) The "Goethe couplet" referred to here is from an extremely loose translation of Faust 214-30 done by John Anster in 1835. Reference:
This quote, or one similar to it, is often attributed to Johann Wolfgang von Goethe, however it was written by Mr. Murray near the beginning of the The Scottish Himalaya Expedition.

"Crucifixion"
Pleasures of the Harbor (1967)

"Riders Beyond the Sunrise" (1967)

Books, Confessions of a Conjuror (2010)

Sources
Source: Xavier Leroy (2009-10-28), Post to the Caml mailing list, 2009-10-28 http://article.gmane.org/gmane.comp.lang.caml.general/47389,

Books, Pure Effect - Direct Mind Reading and Magical Artistry (2000)

Man's Rise to Civilization (1968)
Context: The debate as to where "magic" ends and "religion" begins is an old one, and it appeared to have been settled some decades ago when scholars concluded that no discernible boundary was to be found. As a result, the two were often lumped together in the adjective "magico-religious"...

Guardian Galenor in Ch 43 : various pursuits<!-- 418 -->
The Visitor (2002)
Context: People allow themselves to believe an event if it's called a miracle while disdaining the same event if it's called magic. Or vice versa. Life arises naturally; where life is, death is, joy is, pain is. Where joy and pain are, ecstasy and horror are, all part of the pattern. They occur as night and day occur on a whirling planet. They are not individually willed into being and shot at persons like arrows. Mankind accepts good fortune as his due, but when bad occurs, he thinks it was aimed at him, done to him, a hex, a curse, a punishment by his deity for some transgression, as though his god were a petty storekeeper, counting up the day's receipts…

The Death of Cynthia Horner (1994)
Context: I don't know that I believe in the supernatural, but I do believe in miracles, and our time together was filled with the events of magical unlikelihood. I also believe that angels, or something like them, sometimes live among us, hidden within our fellow human beings. I'm convinced that such an angel dwelled in Cynthia. I felt this presence often in Cynthia's lightness of being, in her decency, her tolerance, her incredible love. I never heard Cynthia speak ill of anyone nor did I ever hear anyone speak ill of her. She gave joy and solace to all who met her.

Toward an Activist Spirituality (2003)
Context: Much of our magic and our community work is about creating spaces of refuge from a harsh and often hostile world, safe places where people can heal and regenerate, renew our energies and learn new skills. In that work, we try to release guilt, rage, and frustration, and generally turn them into positive emotions.
Safety and refuge and healing are important aspects of spiritual community. But they are not the whole of spirituality. Feeling good is not the measure by which we should judge our spiritual work. Ritual is more than self-soothing activity.
Spirituality is also about challenge and disturbance, about pushing our edges and giving us the support we need to take great risks. The Goddess is not just a light, happy maiden or a nurturing mother. She is death as well as birth, dark as well as light, rage as well as compassion — and if we shy away from her fiercer embrace we undercut both her own power and our own growth.

On Songs of Innocence and Songs of Experience
Bono: The Rolling Stone Interview (2017)
Context: These last two albums mix up the personal and the political so that you don't know which one you're talking to. That's a kind of magic trick, and realizing that of course all the problems that we find in the exterior world are just manifestations of what we, you know, what we hold inside of us, in our interior worlds. The biggest fucker, the biggest asshole, the biggest, the most sexist we can be, the most selfish, mean, cunning, all those characters you are going to see them in the mirror. And that is where the job of transformation has to start first. Is that not what experience tells us?

"Changing the Channel" (11 June 2010) http://www.jmdematteis.com/2010/06/changing-channel.html
J.M. DeMatteis's CREATION POINT (2009 – present)
Context: We’re not really the authors of our work: we’re channels, tuning into another frequency, another dimension, and bringing that information down into the physical world, where — using the tools, the talents and perspectives that are uniquely ours — we transcribe and embellish that information, transforming it into that wonderful creature called a Story.
In the end, it doesn’t matter whether the transmission is instant or unfolds slowly, it’s the opening up that’s so magical. That moment of realizing that you’re connected to something so much bigger than yourself. I remember, years ago, when I was just beginning work on Moonshadow, standing in the shower — mouth open, eyes glazed, still as a statue — watching the ending of the series play out on the movie screen of my psyche. Make no mistake: I didn’t create the scene, I just witnessed and transcribed it.

Apocalypse Descending (2002)
Context: I think Washington is a magical place. I lived there for thirteen years, and until the day I left I never wanted to live anywhere else. I went back for the first time two years ago, after over a decade's absence; it was like seeing an old lover and discovering — with great relief — that the flame is still there.
Gore Vidal famously remarked of walking through the city with his grandfather, a senator, and the old man telling him, "Someday all this will make marvelous ruins."

Sam Harris, in
2000s
Context: If I could wave a magic wand and get rid of either rape or religion, I would not hesitate to get rid of religion. I think more people are dying as a result of our religious myths than as a result of any other ideology. I would not say that all human conflict is born of religion or religious differences, but for the human community to be fractured on the basis of religious doctrines that are fundamentally incompatible, in an age when nuclear weapons are proliferating, is a terrifying scenario.

I Am A Dancer (1952)

Black Boy (1945)

As quoted in "Salman Rushdie talks with Terry Gilliam", in The Believer (March 2003) http://www.believermag.com/issues/200303/?read=interview_gilliam
Context: Well, I really want to encourage a kind of fantasy, a kind of magic. I love the term magic realism, whoever invented it — I do actually like it because it says certain things. It's about expanding how you see the world. I think we live in an age where we're just hammered, hammered to think this is what the world is. Television's saying, everything's saying "That's the world." And it's not the world. The world is a million possible things.

Quoted as the opening passage of "BOOK ONE: The Functions of Language" in Language in Thought and Action (1949) by S. I. Hayakawa, p. 3
Words and Their Meanings (1940)
Context: A great deal of attention has been paid … to the technical languages in which men of science do their specialized thinking … But the colloquial usages of everyday speech, the literary and philosophical dialects in which men do their thinking about the problems of morals, politics, religion and psychology — these have been strangely neglected. We talk about "mere matters of words" in a tone which implies that we regard words as things beneath the notice of a serious-minded person.
This is a most unfortunate attitude. For the fact is that words play an enormous part in our lives and are therefore deserving of the closest study. The old idea that words possess magical powers is false; but its falsity is the distortion of a very important truth. Words do have a magical effect — but not in the way that magicians supposed, and not on the objects they were trying to influence. Words are magical in the way they affect the minds of those who use them. "A mere matter of words," we say contemptuously, forgetting that words have power to mould men's thinking, to canalize their feeling, to direct their willing and acting. Conduct and character are largely determined by the nature of the words we currently use to discuss ourselves and the world around us.

De Abaitua interview (1998)
Context: What I would prefer to have is to have a kind of magic where we say, "OK, we’re going to do a magical performance on this night, at this time. You come along, if you don’t think it’s magical, that’s fine. We’ll show you. We’ll show you what we mean, and you judge for yourself." That’s only fair. So a lot of the magic we do tends to gravitate toward the practical end, toward something that is tangible. Where you’ve got a record at the end of it, a performance at the end of it, a painting at the end of it. You’ve conjured some energy, some idea, some information from somewhere and put it in a tangible form. You conjure something into existence in a literal sense. A rabbit out of a hat. Something out of nothing. That’s one level to it, but there’s a lot of background to that. That’s the stuff that people see, that’s the end result of the process. But we also do a lot of ritual work purely on our own.

De Abaitua interview (1998)
Context: I understand that the word ‘occult’ means hidden, but surely that is not meant to be the final state of all this information, hidden forever. I don’t see why there is any need to further obscure things that are actually lucid and bright. Language and strange terminology – to keep them as some private mystery. I think there is too much darkness in magic. I can understand that it is part of the theatre. I can understand Aleister Crowley – who I think was a great intellect that was sometimes let down by his own flair for showmanship — but he did a lot to generate the scary aura of the magician that you find these sad, Crowleyite fucks making a fetish of. The ones who say ‘oh we’re into Aleister Crowley because he was the wickedest man in the world, and we’re also into Charles Manson because we’re bad. And we are middle-class as well, but we’re bad’. There are some people who seek evil – I don’t think there is such a thing as evil – but there are people who seek it as a kind of Goth thing. That just adds to the murk to what to me is a very lucid and flourescent subject. What occultism needs is someone to open the window, it’s too stuffy and it smells. Let’s get some fresh air, throw open the curtains – I can’t go for that posturing, spooky guy stuff. When they wanted me to do Fortean TV it became apparent that they wanted me to be Spooky Bloke. But I’m not actually trying to look spooky. I dress in black because it makes me look less fat, it’s as simple as that. It’s not a gothic flourish. I don’t want to be thought of as a figure of mystery or a master of the occult, surely this is about illumination, casting light on things. I’m an illuminist, that’d do for me.

Sex, Ecology, Spirituality (1995, 2000)
Context: It is the integrative power of vision-logic, I believe, and not the indissociation of tribal magic or the imperialism of mythic involvement that is desperately needed on a global scale. For it is vision-logic with its centauric/planetary worldview that, in my opinion, holds the only hope for the integration of the biosphere and the noosphere, the supranational organization of planetary consciousness, the genuine recognition of ecological balance, the unrestrained and unforced forms of global discourse, the nondominating and noncoercive forms of federated states, the unrestrained flow of worldwide communicative exchange, the production of genuine world citizens, and the enculturation of female agency (i. e., the integration of male and female, in both the noosphere and the biosphere) — all of which, in my opinion, is nevertheless simply the platform for the truly interesting forms of higher and transpersonal states of consciousness lying in our collective future — if there is one.

O interview (2003)
Context: The whole society is obsessed.... I'm not complaining — I'm just saying, "Don't be too impressed with me. Don't try to dress like me or wear your hair like mine. Find your own style. Don't spend your savings trying to be someone else. You're not more important, smarter, or prettier because you wear a designer dress." I only wear the expensive clothes because I get them free and I'm too lazy to go out and look for my own. I, a rich girl from Mexico, came here with designer clothes. And one day when I was starving in an apartment in Los Angeles, I looked at my Chanel blouses and said, "If only I could pay the rent with one of these." … In those days, the rag I used to dry my dishes was more useful. Now many who start in this business come to me for advice and ask, "How do I get started?" And I have to say, "I honestly have no idea." I think it's a bunch of accidents that happen to you and somehow you survive them and take advantage of them and something magical happens — and you have an agent.

Equinox (1973)
Context: Always remember the objects you are working with. When you make a bridge, remember you are putting steel on stone and dirt. … Some day you will write poems to a little girl: marks with ink on paper. … When you are making love, you are moving flesh against flesh. That is the basis of all magic. (p. 30)

"Laughing With"
Far (2009)
Context: No one laughs at God when the cops knock on their door
And they say "We've got some bad news, sir."

No one's laughing at God when there's a famine, fire or flood But God can be funny
At a cocktail party when listening to a good God-themed joke
Or when the crazies say He hates us
And they get so red in the head you think they're 'bout to choke God can be funny
When told he'll give you money if you just pray the right way
And when presented like a genie who does magic like Houdini
Or grants wishes like Jiminy Cricket and Santa Claus
God can be so hilarious...

Source: Space Chantey (1968), Ch. 6
Context: "I am mistress of all the sciences. I go so far beyond all else that my work is called magic. I manipulate noumena, regarding monads as points of entry tangential to hylomorphism. As to the paradox of Primary Essence being contained in Quiddity, the larger in the smaller, I have my own solution. The difficulty is always in not confusing Contingency with Accidence. Do you understand me?"
"Sure. You're a witch."

The Syntax of Sorcery (2012)
Context: Certain individual words do possess more pitch, more radiance, more shazam! than others, but it's the way words are juxtaposed with other words in a phrase or sentence that can create magic. Perhaps literally. The word "grammar," like its sister word "glamour," is actually derived from an old Scottish word that meant "sorcery." When we were made to diagram sentences in high school, we were unwittingly being instructed in syntax sorcery, in wizardry. We were all enrolled at Hogwarts. Who knew?
When a culture is being dumbed down as effectively as ours is, its narrative arts (literature, film, theatre) seem to vacillate between the brutal and the bland, sometimes in the same work. The pervasive brutality in current fiction – the death, disease, dysfunction, depression, dismemberment, drug addiction, dementia, and dreary little dramas of domestic discord – is an obvious example of how language in exploitative, cynical or simply neurotic hands can add to the weariness, the darkness in the world. Less apparent is that bland writing — timid, antiseptic, vanilla writing – is nearly as unhealthy as the brutal and dark. Instead of sipping, say, elixir, nectar, tequila, or champagne, the reader is invited to slurp lumpy milk or choke on the author's dust bunnies.

The Silence of Trees (2010)
Context: Just when you think that life is slowing down, magic happens. The universe sends you a message, like a tsvit paporot on your doorstep. The question is: what do you wish for?

What is Religion? (1893)
Context: What is it that passes for religion? In some countries magic passes for religion, and that is one thing I wish, in view particularly of the ethnic faiths, could be made very prominent— that religion is not magic. I am very sure that in many countries it is supposed to be so. You do something that will bring you good luck. It is for the interests of the priesthood to cherish that idea. Of course the idea of advantage in this life and in another life is very strong, and rightly very strong in all human breasts. Therefore, it is for the advantage of the priesthoods to make it to be supposed that they have in their possession certain tricks, certain charms, which will give you either some particular prosperity in this world or possibly the privilege of immortal happiness. Now, this is not religion. This is most mischievous irreligion, and I think this Parliament should say, once for all, that the name of God and the names of his saints are not things to conjure with.

"Gurdjieff" in Man, Myth and Magic : Encyclopedia of the Supernatural (1970) http://www.gurdjieff.org/travers1.htm
Context: It is clear from Gurdjieff's writings that hypnotism, mesmerism and various arcane methods of expanding consciousness must have played a large part in the studies of the Seekers of Truth. None of these processes, however, is to be thought of as having any bearing on what is called Black Magic, which, according to Gurdjieff, "has always one definite characteristic. It is the tendency to use people for some, even the best of aims, without their knowledge and understanding, either by producing in them faith and infatuation or by acting upon them through fear. There is, in fact, neither red, green nor yellow magic. There is "doing." Only "doing" is magic." Properly to realise the scale of what Gurdjieff meant by magic, one has to remember his continually repeated aphorism, "Only he who can be can do," and its corollary that, lacking this fundamental verb, nothing is "done," things simply "happen."

On Heath Ledger's death in January 2008, as quoted in Terry Gilliam on Heath Ledger’s death and The Imaginarium of Doctor Parnassus (14 May 2008) http://cma.staging-thetimes.co.uk/tto/arts/film/article2431428.ece
Context: We were devastated. We spent the whole day — Amy Gilliam, Nicola Pecorini, the director of photography, and myself — lying flat on the floor. Heath Ledger's dead, and you don't quite get over that. I suppose I'm in an interesting position because while I'm cutting the film I'm basically working with him every day and he's fine; he's in good shape. Ideas are floating around. Then finally we decided, 'OK, let's get three other people to take over the part'. And we were lucky because we have a magic mirror in this movie. Not every movie has a magic mirror. So you can very genuinely say that these other actors are different aspects of the character that Heath plays. And it works. The point was, we've got to keep going. It was a bit like half being there, but apparently on autopilot I can still do a few things.

Source: The Book on the Taboo Against Knowing Who You Are (1966), p. 84-85

(18 October 1921)
The Diaries of Franz Kafka 1910-1923 (1948)
Context: Eternal childhood. Life calls again.
It is entirely conceivable that life’s splendour forever lies in wait about each one of us in all its fullness, but veiled from view, deep down, invisible, far off. It is there, though, not hostile, not reluctant, not deaf. If you summon it by the right word, by its right name, it will come. This is the essence of magic, which does not create but summons.

On the work of the metal-smith Tubal-Cain
The Legend of Jubal (1869)
Context: Each day he wrought and better than he planned,
Shape breeding shape beneath his restless hand.
(The soul without still helps the soul within,
And its deft magic ends what we begin.)
Nay, in his dreams his hammer he would wield
And seem to see a myriad types revealed,
Then spring with wondering triumphant cry,
And, lest the inspiring vision should go by,
Would rush to labor with that plastic zeal
Which all the passion of our life can steal
For force to work with. Each day saw the birth
Of various forms, which, flung upon the earth,
Seemed harmless toys to cheat the exacting hour,
But were as seeds instinct with hidden power.

Address to the United Nations (1963)
Context: There is no single magic formula, no one simple step, no words, whether written into the Organization's Charter or into a treaty between states, which can automatically guarantee to us what we seek. Peace is a day-to day problem, the product of a multitude of events and judgments. Peace is not an "is", it is a "becoming." We cannot escape the dreadful possibility of catastrophe by miscalculation. But we can reach the right decisions on the myriad subordinate problems which each new day poses, and we can thereby make our contribution and perhaps the most that can be reasonably expected of us in 1963 to the preservation of peace.
It is here that the United Nations has served us — not perfectly, but well.

"Hieroglyphica" (1934)

Revolution (2014)
Context: On the short walk to the front past the others, either bowing or kneeling or whirling or howling, I feel glad that my life is this way; so full of jarring experience. Sometimes you feel that life is full and beautiful, all these worlds, all these people, all these experiences, all this wonder. You never know when you will encounter magic. Some solitary moment in a park can suddenly burst open with a spray of preschool children in high-vis vests, hand in hand; maybe the teacher will ask you for directions, and the children will look at you, curious and open, and you’ll see that they are perfect. In the half-morning half-gray glint, the cobwebs on bushes are gleaming with such radiant insistence, you can feel the playful unknown beckoning. Behind impassive stares in booths, behind the indifferent gum chew, behind the car horns, there is connection.

Source: The Golden Bough (1890), Chapter 4, Magic and Religion.
Context: From the earliest times man has been engaged in a search for general rules whereby to turn the order of natural phenomena to his own advantage, and in the long search he has scraped together a great hoard of such maxims, some of them golden and some of them mere dross. The true or golden rules constitute the body of applied science which we call the arts; the false are magic.

hence all the old tales of elfin Kingdoms moving further and further away from our world, or that magical beings require our faith, our belief in their existence, to survive. … That is a lie. All they require is our recognition.
Goninan in Part One: The Hidden People, "Border Spirit" p. 337
The Little Country (1991)

Popimage interview https://web.archive.org/web/20040803001942/http://www.popimage.com/content/grant20044.html
On magic
Context: All the comics are sigils. "Sigil" as a word is out of date. All this magic stuff needs new terminology because it's not what people are being told it is at all. It's not all this wearying symbolic misdirection that's being dragged up from the Victorian Age, when no-one was allowed to talk plainly and everything was in coy poetic code. The world's at a crisis point and it's time to stop bullshitting around with Qabalah and Thelema and Chaos and Information and all the rest of the metaphoric smoke and mirrors designed to make the rubes think magicians are "special" people with special powers. It's not like that. Everyone does magic all the time in different ways. "Life" plus "significance" = magic.

Emblems of Love (1912)
Context: And where is now that palace gone,
All the magical skill'd stone,
All the dreaming towers wrought
By Love as if no more than thought
The unresisting marble was?
How could such a wonder pass?
Ah, it was but built in vain
Against the stupid horns of Rome,
That pusht down into the common loam
The loveliness that shone in Spain.
But we have raised it up again!
A loftier palace, fairer far,
Is ours, and one that fears no war.
Safe in marvellous walls we are;
Wondering sense like builded fires,
High amazement of desires,
Delight and certainty of love,
Closing around, roofing above
Our unapproacht and perfect hour
Within the splendours of love's power.

Trip of a Lifetime (1999)
Context: What I always wanted to be was a magician... My real upbringing when I was a teenager was doing magic shows, all over the state, with my father and brothers. Doing magic, you not only have to be able to do a trick, you have to have a little story line to go with it. And writing is essentially a trick.

"Babylon"
Fairies and Fusiliers (1917)
Context: Robin, and Red Riding Hood
Take together to the wood,
And Sir Galahad lies hid
In a cave with Captain Kidd.
None of all the magic hosts,
None remain but a few ghosts
Of timorous heart, to linger on
Weeping for lost Babylon.

Source: Life, the Truth, and Being Free (2010), p. 101
Context: This magical universe is so faithful in waiting for us to get out of our own way. Many people do not realize that the sharpening of wit occurs when one humbles their wit. It is in the humble mindset that beauty and magic flow freely.

Equinox (1973)
Context: It is a magic book. Words mean things. When you put them together they speak. Yes, sometimes they flatten out and nothing they say is real, and that is one kind of magic. But sometimes a vision will rip up from them and shriek and clank wings clear as the sweat smudge on the paper under your thumb. And that is another kind. (p. 163)

Interview in Rolling Stone (9 November 1967)
Context: We are magic. It is magic that we're walking around. It's fantastic magic. Some people would call it miracles; I like to call it magic. … Yes, I'm very aware of this. Yes, the more aware I get, the more I can understand how big it is, how big it will get. It'll be harder to comprehend; that's why I have to go along with it, 'cause its so vast. To say to somebody that God is everything that lives and ever has lived and ever will live, and you're never going to touch and see, smell and be everything that is God. Magic is very hard to comprehend. <!-- Everyone's on their own, but they're not.

"Merlin and the Gleam", st. 3 (1889)

Cemetery World (1973)
Context: The sun was setting, throwing a fog-like dusk across the stream and trees, and there was a coolness in the air. It was time, I knew, to be getting back to camp. But I did not want to move. For I had the feeling that this was a place, once seen, that could not be seen again. If I left and then came back, it would not be the same; no matter how many times I might return to this particular spot the place and feeling would never be the same, something would be lost or something would be added, and there never would exist again, through all eternity, all the integrated factors that made it what it was in this magic moment.

Source: Magick Book IV : Liber ABA, Part III : Magick in Theory and Practice (1929), Ch. 1 : The Principles of Ritual
Context: There is a single main definition of the object of all magical Ritual. It is the uniting of the Microcosm with the Macrocosm. The Supreme and Complete Ritual is therefore the Invocation of the Holy Guardian Angel; or, in the language of Mysticism, Union with God.

Interview in Publisher Weekly in 2011 http://www.publishersweekly.com/pw/by-topic/authors/interviews/article/45944-exploring-the-edge-of-the-fantasy-map-pw-talks-with-patrick-rothfuss.html
Context: Fantasy is my favorite genre for reading and writing. We have more options than anyone else, and the best props and special effects. That means if you want to write a fantasy story with Norse gods, sentient robots, and telepathic dinosaurs, you can do just that. Want to throw in a vampire and a lesbian unicorn while you're at it? Go ahead. Nothing's off limits. But the endless possibility of the genre is a trap. It's easy to get distracted by the glittering props available to you and forget what you're supposed to be doing: telling a good story. Don’t get me wrong, magic is cool. But a nervous mother singing to her child at night while something moves quietly through the dark outside her house? That’s a story. Handled properly, it’s more dramatic than any apocalypse or goblin army could ever be.

Against the Gnostics

I Am A Dancer (1952)