Quotes about magic

page 12

"Naxos", Ch. 11, p. 96
Report to Greco (1965)
Context: A magical portal opened inside my mind and conducted me into an astonishing world. … Before this moment I had divined but had never known with such positiveness that the world is extremely large and that suffering and toil are the companions and fellow warriors not only of Cretan, but of every man. … that by means of poetry all this suffering and effort could be transformed into dream; no matter how much of the ephemeral existed, poetry could immortalize it by turning it into song.

By the Waters of Babylon (1937)
Context: Now I tell what is very strong magic. I woke in the midst of the night. When I woke, the fire had gone out and I was cold. It seemed to me that all around me there were whisperings and voices. I closed my eyes to shut them out. Some will say that I slept again, but I do not think that I slept. I could feel the spirits drawing my spirit out of my body as a fish is drawn on a line.
Why should I lie about it? I am a priest and the son of a priest. If there are spirits, as they say, in the small Dead Places near us, what spirits must there not be in that great Place of the Gods? And would not they wish to speak? After such long years? I know that I felt myself drawn as a fish is drawn on a line. I had stepped out of my body — I could see my body asleep in front of the cold fire, but it was not I. I was drawn to look out upon the city of the gods.
It should have been dark, for it was night, but it was not dark. Everywhere there were lights — lines of light — circles and blurs of light — ten thousand torches would not have been the same. The sky itself was alight — you could barely see the stars for the glow in the sky. I thought to myself "This is strong magic" and trembled. There was a roaring in my ears like the rushing of rivers. Then my eyes grew used to the light and my ears to the sound. I knew that I was seeing the city as it had been when the gods were alive.

Guivric, in Book Six : In the Sylan's House, Ch. XL : Economics of Glaum-Without-Bones
The Silver Stallion (1926)
Context: This is a strong magic. This is a sententious magic. They had warned me that I would here face my own destruction, that I would here face the most pitiable and terrible of all things: and I face here that which I have made of life, and life of me. I shudder; I am conscious of every appropriate sentiment. Nevertheless, sir, I must venture the suggestion that mere, explicit allegory as a form of art is somewhat obsolete.

Brazil v. United States http://www.listenonrepeat.com/watch/?v=r1PlC9mj-N0 (10 July 2011).
2010s, 2011, 2011 FIFA Women's World Cup
Context: Daiane, whose own goal started all the talking points today after seventy-four seconds. Seems a long, long time ago now. It was into this goal, now Brazil need her to put one in legitimately for them. Yes! Brilliant save from Solo, brilliant save! And that one is legal, and now that means, that if the United States put in the last two penalties, they will go into the semi-finals. That is a moment of magic from Hope Solo!

Source: Confessions of a Young Man http://www.gutenberg.org/files/12278/12278-h/12278-h.htm (1886), Ch. 12.
Context: I will admit that an artist may be great and limited; by one word he may light up an abyss of soul; but there must be this one magical and unique word. Shakespeare gives us the word, Balzac, sometimes, after pages of vain striving, gives us the word, Tourgueneff gives it with miraculous certainty; but Henry James, no; a hundred times he flutters about it; his whole book is one long flutter near to the one magical and unique word, but the word is not spoken; and for want of the word his characters are never resolved out of the haze of nebulae. You are on a bowing acquaintance with them; they pass you in the street, they stop and speak to you, you know how they are dressed, you watch the colour of their eyes.

De Abaitua interview (1998)
Context: Organised religion has corrupted one of the purest, most powerful and sustaining things in the human condition. It has imposed a middle management, not only in our politics and in our finances, but in our spirituality as well. The difference between religion and magic is the same as what we were talking about earlier – I think you could map that over those two poles of fascism and anarchism. Magic is closer to anarchism.

"The Web of Eros"
The Wooden Pegasus (1920)
Context: Within your magic web of hair, lies furled
The fire and splendour of the ancient world;
The dire gold of the comet's wind-blown hair;
The songs that turned to gold the evening air
When all the stars of heaven sang for joy.

Letter to F.W Weber (1950); published in New York—Pennsylvania Collector (8 August 1991)
Context: How do ideas come? What a question! If they come of their own accord, they are apt to arrive at the most unexpected time and place. For the most part the place is out of doors, for up in this northern wilderness when nature puts on a show it is an inspiring one. There seem to be magic days once in a while, with some rare quality of light that hold a body spellbound: In sub-zero weather there will be a burst of unbelievable color when the mountain turns a deep purple, a thing it refuses to do in summer. Then comes the hard part: how to plan a picture so as to give to others what has happened to you. To render in paint an experience, to suggest the sense of light and color, air and space, there is no such thing as sitting down outside and trying to make a “portrait” of it. It lasts for only a minute, for one thing, and it isn’t an inspiration that can be copied on the spot...

Starting Out, p. 9
Catching the Big Fish (2006)
Context: I started out just as a regular person, growing up in the Northwest. My father was a research scientist for the Department of Agriculture, studying trees. So I was in the woods a lot. And the woods for a child are magical. I lived in what people call small towns. My world was what would be considered about a city block, maybe two blocks. Everything occurred in that space. All the dreaming, all my friends existed in that small world. But to me it seemed so huge and magical. There was plenty of time available to dream and be with friends.
I liked to paint and I liked to draw. And I often thought, wrongly, that when you got to be an adult, you stopped painting and drawing and did something more serious.

Julian in Nicomedia http://www.cavafy.com/poems/content.asp?id=106&cat=1
Collected Poems (1992)
Context: Things impolitic and dangerous:
praise for Greek ideals,
supernatural magic, visits to pagan temples.
Enthusiasm for the ancient gods

Article "The Worst Man in the World" in The Sunday Dispatch (2 July 1933); quoted in The Magical Revival (1972) by Kenneth Grant.
Context: Black magic is not a myth. It is a totally unscientific and emotional form of magic, but it does get results — of an extremely temporary nature. The recoil upon those who practice it is terrific.
It is like looking for an escape of gas with a lighted candle. As far as the search goes, there is little fear of failure!
To practice black magic you have to violate every principle of science, decency, and intelligence. You must be obsessed with an insane idea of the importance of the petty object of your wretched and selfish desires.
I have been accused of being a "black magician." No more foolish statement was ever made about me. I despise the thing to such an extent that I can hardly believe in the existence of people so debased and idiotic as to practice it.

De Abaitua interview (1998)
Context: The reason I got into magic was that it seemed to be what was lying at the end of the path of writing. If I wanted to continue on that path, I was going to have to get into that territory because I had followed writing as far as I thought I could without taking a step over the edges of rationality. The path led out of rational confines. When you start thinking about art and creativity, rationality is not big enough to contain it all.

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.

(5 August 2007)
Unfit for Mass Consumption (blog entries), 2007
Context: I cannot force it. I have never been able to force it. Like I've said before, writing is a wild magic (at least it is for me). It comes when it's ready, and then, if I'm lucky, I have some small say in where it goes and what it does. This is one reason I can't comprehend why some writers talk so much about "craft." Crafts are something you learn how to do. I never learned to write. I write better now than I did ten years ago, and far better than I did twenty years ago, but I'm not exactly sure why. To me, it is an almost ineffable thing. I try to explain what it is I do, and how it is I do it … on those extremely rare occasions when I try to explain … and, for me, it's like grasping at air. I have no craft talk, no theory, no dos and don'ts, no discernible process. I sit here in my chair at my desk in front of the iMac, and when I'm lucky, it happens. It's not so much that I think the "writing as craft" people are wrong. They can't be wrong, not if they are crafting stories and know they are crafting stories. But I don't craft stories. So, for me, we have here these two different paradigms. I spark. They craft. Two incommensurable world views. I cannot explain to them what it is that I do. I cannot even explain it to myself. And I cannot comprehend what they do.

The Nuts of Knowledge (1903)
Context: For sure the enchanted waters pour through every wind that blows.
I think when night towers up aloft and shakes the trembling dew
How every high and lonely thought that thrills my being through
Is but a ruddy berry dropped down through the purple air,
And from the magic tree of life the fruit falls everywhere.

TIME interview (1977)
Context: Have family reunions. There is something magic about the common sense of a blood bond. It's not less magic for black, white, brown or polka dot. The reunion gives a sense that the family cares about itself and is proud of itself. And there is the assumption that you, the family member, are obligated to reflect this pride and, if possible, add to it.

Song lyrics, Singles and rarities
Context: See how I fall like the snow,
Come to cover the lovers,
(But don't you wake them up)
Come to sparkle the dark up,
With just a touch of make up.
Come to cover the muck up.
Ooh with a little luck —
December will be magic again.

"Thunder Road"
Song lyrics, Born to Run (1975)
Context: Don't run back inside
Darling you know just what I'm here for.
So you're scared and you're thinking
That maybe we ain't that young anymore.
Show a little faith, there's magic in the night;
You ain't a beauty but hey you're all right.
Oh and that's all right with me.

Bewilderness (DVD, 2001)

Lesson 1, Don't Sweat the Small Stuff
Don’t Sweat the Small Stuff…and it’s all Small Stuff (1997)
Context: Often we allow ourselves to get all worked up about things that, upon closer examination, aren't really that big a deal. We focus on little problems and blow them out of proportion. … Whether we had to wait in line, listen to unfair criticism, or do the lion's share of the work, it pays enormous dividends if we learn not to worry about little things. So many people spend so much of their life energy "sweating the small stuff" that they completely lose touch with the magic and beauty of life.

Pages 66 http://books.google.com/books?id=LGLuAAAAMAAJ&q=%22We+seek+to+find+peace+of+mind+in+the+word+the%22&pg=PA66#v=onepage – 67 http://books.google.com/books?id=LGLuAAAAMAAJ&q=%22formula+the+ritual+The+hope+is+an+illusion%22&pg=PA67#v=onepage
Other writings, The Growth of the Law (1924)
Context: Magic words and incantations are as fatal to our science as they are to any other. Methods, when classified and separated, acquire their true bearing and perspective as a means to an end, not as ends in themselves. We seek to find peace of mind in the word, the formula, the ritual. The hope is an illusion.

Cinema, p. 17
Catching the Big Fish (2006)
Context: I'm not always good with words. Some people are poets and have a beautiful way of saying things with words. But cinema is its own language. And with it you can say so many things, because you've got time and sequences. You've got dialogue. You've got music. You've got sound effects. You have so many tools. And so you can express a feeling and a thought that can't be conveyed any other way. It's a magical medium.
For me, it's so beautiful to think about these pictures and sounds flowing together in time and in sequence, making something that can be done only through cinema. It's not just words or music — it's a whole range of elements coming together and making something that didn't exist before. It's telling stories. It's devising a world, an experience, that people cannot have unless they see that film.

Source: The Apophenion (2008), p. 7
Context: I regard physics as that subset of magic that works fairly reliably. I regard magick, in the traditional sense, as a kind of physics that we strive to understand and render more reliable. So it all comes down to the same thing, a quest to understand and manipulate the world with a self-consistent and coherent theory.

Source: Dreaming the Dark: Magic, Sex and Politics (1982), Ch. 1 : Power-Over and Power-From-WIthin, p. 13

Edie : Girl On Fire (2006)
Context: But I really, since I exist, at all, I believe that it's possible for people... I've lived through impossible situations. So I believe in it. I just believe, and that's the magic... That's the whole thing, you talk about magic that there's to believe in, and it is there. But most people don't really believe in it. And I refuse, like, since I'm still alive and done the things I've done and seen things and understood things as far as I have, and I am alive, I mean physically intact. When I shouldn't be, according to medical reports and so forth. I mean I should be, not here. That's all there is to it. So the magic's working and it's a rare situation.

A Propos of Lady Chatterley's Lover (1929)
Context: Sex is the balance of male and female in the universe, the attraction, the repulsion, the transit of neutrality, the new attraction, the new repulsion, always different, always new. The long neuter spell of Lent, when the blood is low, and the delight of the Easter kiss, the sexual revel of spring, the passion of midsummer, the slow recoil, revolt, and grief of autumn, greyness again, then the sharp stimulus of winter of the long nights. Sex goes through the rhythm of the year, in man and woman, ceaselessly changing: the rhythm of the sun in his relation to the earth. Oh, what a catastrophe for man when he cut himself off from the rhythm of the year, from his unison with the sun and the earth. Oh, what a catastrophe, what a maiming of love when it was a personal, merely personal feeling, taken away from the rising and the setting of the sun, and cut off from the magic connection of the solstice and the equinox! This is what is the matter with us. We are bleeding at the roots, because we are cut off from the earth and sun and stars, and love is a grinning mockery, because, poor blossom, we plucked it from its stem on the tree of Life, and expected it to keep on blooming in our civilised vase on the table.

2000s, A Challenge to Overcome (November 2007)
Context: So these were the voices I was hearing growing up. And they gave me the strength and courage to overcome the doubt and fear I was hearing in other corners of my community. From classmates who thought a black girl with a book was acting white. From teachers who told me not to reach too high because my test scores were too low. And from well-meaning but misguided folks who said, “no, you can’t,” “you’re not smart enough,” and “you’re not ready.” Who said “success isn’t meant for little black girls from the South Side of Chicago.” And you know what? When I listened to my own voice and cast the cynics aside, when I forged ahead and overcame the doubts and fears of others about who I was and what I could become, I found that their doubts and fears were misplaced. Funny thing, the more I achieved, the more I found that I was just as ready, just as qualified, just as capable as those who felt entitled to the seat at the table that I was working so hard for. And I realized that those who had been given the mantle of power in this country didn’t have any magic about them. They were no better, no smarter than me. That gnawing sense of self-doubt that is common within all of us is a lie. It’s just in our heads. Nine times out of ten, we are more ready and more prepared than we could ever know.

Source: Going Bovine (2009), p. 389
Context: Marisol does a silly dance with Balder and the screw, one in each hand, so that nobody gets the idea that she takes tins — or anything else, for that matter — seriously. And just like that, something in the cosmos shifts. A butterfly flaps its wings in South America. Snow falls in Chicago. You give an idiot a stupid magic screw and it turns out to be a necessary part after all.

Shall Earth No More Inspire Thee (May 1841)

A comment on Wrong Questions http://lesswrong.com/lw/og/wrong_questions/ (March 2008)
Context: Mystery exists in the mind, not in reality. If I am ignorant about a phenomenon, that is a fact about my state of mind, not a fact about the phenomenon itself. All the more so, if it seems like no possible answer can exist: Confusion exists in the map, not in the territory. Unanswerable questions do not mark places where magic enters the universe. They mark places where your mind runs skew to reality.

De Abaitua interview (1998)

Source: The Ship that Flew (1939), Ch. 1 : The Magic Begins

"Books of the Times" http://query.nytimes.com/gst/fullpage.html?res=9B01E7DB1E38F935A35754C0A967948260&sec=&spon=&pagewanted=2, The New York Times (6 July 1981)
Context: Everybody remembers his or her first magic show. Mine was in a garage in the dark. I passed out bowls of peeled grapes and described them as the devil's eyeballs. After that, by the light of a lantern on a wall of cinderblocks, there were card tricks and some pigeons we pretended to decapitate. The attraction of magic, to the amateur magician, derived from the fact that it wasn't magic at all; it was science in the service of illusion. Having sent in the magazine coupon and received our kit, we knew how everything worked toward achieving the ecstatic grasp.

Source: The Occult: A History (1971), p. 28
Context: Religion, mysticism and magic all spring from the same basic 'feeling' about the universe: a sudden feeling of meaning, which human beings sometimes 'pick up' accidentally, as your radio might pick up some unknown station. Poets feel that we are cut off from meaning by a thick, lead wall, and that sometimes for no reason we can understand the wall seems to vanish and we are suddenly overwhelmed with a sense of the infinite interestingness of things.

The Rubaiyat (1120)
Context: We are no other than a moving row
Of Magic Shadow-shapes that come and go
Round with the Sun-illumined Lantern held
In Midnight by the Master of the Show;

De Abaitua interview (1998)
Context: The traditional definition of magic – and I think this comes from Crowley who laid down a lot of the ground rules – he defined magic as bringing about change in accordance with the will. I’m not sure about that. It’s certainly part of it, but to bring about change in the universe in accordance with your will seems to me to be misunderstanding the relationship between the individual and the universe. In my relationship with the universe, I do tend to see myself as very much the Junior Partner. I don’t want to impose my will on the universe, I’d rather the universe imposed its will on me. I would rather that what I wanted was more in tune with what the universe wanted. So my definition of magic is a bit less invasive and intrusive. … It’s more exploratory with me. I see magic as a vantage point from which one can look down on the rest of consciousness. It’s a point outside normal consciousness from which you can look at normal consciousness, it’s a point outside beliefs from which you can look at beliefs. All beliefs are reality tunnels, to use Anton Wilson’s phrase. There is the Communist reality tunnel, the Feminist reality tunnel, all of which seem to be the whole of reality when you are in the middle of them. The whole universe is based on Marxist theory if you’re an intent Marxist. Magic is having a plan of all the tunnels, and seeing the overall condition in which they all work. Being aware of different possibilities.

De Abaitua interview (1998)
Context: The traditional definition of magic – and I think this comes from Crowley who laid down a lot of the ground rules – he defined magic as bringing about change in accordance with the will. I’m not sure about that. It’s certainly part of it, but to bring about change in the universe in accordance with your will seems to me to be misunderstanding the relationship between the individual and the universe. In my relationship with the universe, I do tend to see myself as very much the Junior Partner. I don’t want to impose my will on the universe, I’d rather the universe imposed its will on me. I would rather that what I wanted was more in tune with what the universe wanted. So my definition of magic is a bit less invasive and intrusive. … It’s more exploratory with me. I see magic as a vantage point from which one can look down on the rest of consciousness. It’s a point outside normal consciousness from which you can look at normal consciousness, it’s a point outside beliefs from which you can look at beliefs. All beliefs are reality tunnels, to use Anton Wilson’s phrase. There is the Communist reality tunnel, the Feminist reality tunnel, all of which seem to be the whole of reality when you are in the middle of them. The whole universe is based on Marxist theory if you’re an intent Marxist. Magic is having a plan of all the tunnels, and seeing the overall condition in which they all work. Being aware of different possibilities.

Source: The Book on the Taboo Against Knowing Who You Are (1966), p. 94

Thoughts on Man's Purpose in Life (1974)
Context: I do not claim to have a magic answer. But I believe there are some basic principles of existence, propounded by thinkers through the ages, which can guide us toward the goal of finding a purpose in life.
Among these principles of existence, responsibility is the one which forces man to become involved. Acceptance of responsibility means that the individual takes upon himself an obligation. Responsibility is broad and continuous. None of us are ever free of it, even if our work is unsuccessful.
Responsibility implies a commitment to self which many are not willing to make; they are strongly attracted to accepting a course of action or direction for their lives imposed by an external source. Such a relationship absolves the individual from the personal decision-making process. He wraps himself in the security blanket of inevitability or dogma, and need not invest the enormous amounts of time, effort and, above all, the thought required to make creative decisions and meaningfully participate in the governance of his life.
Responsibility also implies a commitment to others, or as Confucius taught, each of us is meant to rescue the world. It is the business of little minds to shrink from this task or to go about it without enthusiasm. Neither art, nor science, nor any of the great works of humanity would ever come into being without enthusiasm.
The sense of responsibility for doing a job right seems to be declining. In fact, the phrase "I am not responsible" has become a standard response in our society to complaints on a job poorly done. This response is a semantic error. Generally what person means is: "I cannot be held legally liable." Yet, from a moral or ethical point of view, the person who disclaims responsibility is correct: by taking this way out he is truly not responsible; he is irresponsible.

Card XII : The Hanged Man http://www.sacred-texts.com/tarot/sot/sot23.htm
The Symbolism of the Tarot (1913)
Context: And then I saw a man in terrible suffering, hung by one leg, head downward, to a high tree. And I heard the voice: —
"Look! This is a man who saw Truth. Suffering awaits the man on earth, who finds the way to eternity and to the understanding of the Endless.
"He is still a man, but he already knows much of what is inaccessible even to Gods. And the incommensurableness of the small and the great in his soul constitutes his pain and his golgotha.
"In his own soul appears the gallows on which he hangs in suffering, feeling that he is indeed inverted.
"He chose this way himself.
"For this he went over a long road from trial to trial, from initiation to initiation, through failures and falls.
"And now he has found Truth and knows himself.
"He knows that it is he who stands before an altar with magic symbols, and reaches from earth to heaven; that he also walks on a dusty road under a scorching sun to a precipice where a crocodile awaits him; that he dwells with his mate in paradise under the shadow of a blessing genius; that he is chained to a black cube under the shadow of deceit; that he stands as a victor for a moment in an illusionary chariot drawn by sphinxes; and that with a lantern in bright sunshine, he seeks for Truth in a desert.
"Now he has found Her."

Arnole, in Ch. 45 : not in conclusion
The Visitor (2002)
Context: Ignorance perpetuates itself just as knowledge does. Men write false documents, they preach false doctrine, and those beliefs survive to inspire wickedness in later generations.... Conversely, some men write and teach about the truth, only to be declared heretic by the wicked. In such cases evil has the advantage, for it will do anything to suppress truth, but the good man limits what he will do to suppress falsehood.
One might almost make a rule of it: "Whoever declares another heretic is himself a devil. Whoever places a relic or artifact above justice, kindness, mercy, or truth is himself a devil and the thing elevated is a work of evil magic."

As quoted in Famous Actors and Actresses on the American Stage (1975) by William C. Young, p. 885
Context: Acting is illusion, as much illusion as magic is — and not so much a matter of being real. I mean, I would probably shock Lee Strasberg.

18 October 1921
The Diaries of Franz Kafka 1910-1923 (1948)

Source: The Book of Ram, p. 3

On how there’s a misconception that he’s like his stoner character in “Cheech Marin and Tommy Chong Are Not Their Characters: ‘It’s All for the Love of the Art’” https://www.thewrap.com/heres-the-biggest-misconception-about-cheech-and-chong/ in The Wrap (2018 Sep 14)

On showcasing the Yoruba culture in Children of Blood and Bone in “Meet Tomi Adeyemi: the politically-charged author you need to know about in 2019” https://www.harpersbazaar.com/uk/culture/culture-news/a26933188/tomi-adeyemi-interview/ in Harper’s Bazaar (2019 Mar 26)

On giving her music a magical quality in “Esperanza Spalding Wants to Connect You to Your Body” https://www.vanityfair.com/style/2018/09/esperanza-spalding-12-little-spells-interview in Vanity Fair (2018 Sep 25)

Introduction
The History Of Magic (1860)

Introduction
The History Of Magic (1860)

Chapter 2 http://www.fodian.net/world/0475_02.html
Vimalakirti Sutra, Robert Thurman's translation, 1991

On how physics fits into his works in “In the Author’s Universe: Interview with Sci-Fi Author Cixin Liu” https://vocal.media/futurism/in-the-authors-universe-interview-with-sci-fi-author-cixin-liu in Vocal (2016)

Janaki Bakhle quoted in Vikram Sampath - Savarkar, Echoes from a Forgotten Past, 1883–1924 (2019)

Source: Initiation Into Hermetics (1956), p. 65.

Source: Initiation Into Hermetics (1956), p. 36

Source: Initiation Into Hermetics (1956), p. 35

Source: Initiation Into Hermetics (1956), p. 35

Source: Initiation Into Hermetics (1956), p. 28

Source: The Birds, p. 7

The Earth is in a death spiral. It will take radical action to save us, 2018

On working on a film with a language barrier amongst the crew in “Exclusive Interview With Rick Yune On The Man With The Iron Fists” https://wegotthiscovered.com/movies/interview-rick-yune-man-iron-fists/ in We Got This Covered (2012)

Source: The Laundry Files, The Rhesus Chart (2014), Chapter 3, “KGB.2.YA” (p. 54)

Source: The Laundry Files, The Jennifer Morgue (2006), Chapter 12, “Power Breakfast” (p. 254)

Source: The Laundry Files, The Jennifer Morgue (2006), Chapter 7, “Nightmare Beach” (p. 143)

Section 9.21 (p. 248)
Flight from Nevèrÿon (1985)

German papers carried this headline all over Berlin following the Berlin Olympic Final game of Hockey 'Visit the hockey stadium to watch the Indian magician Dhyan Chand in action'.
Dhyan Chand (a biographical sketch)

The Wonderful Wizard of Oz (1900)

Book 3, Chapter 7 “The Irony of It” (p. 413)
The Elric Cycle, The Sailor on the Seas of Fate (1976)

Guivric, in Book Six : In the Sylan's House, Ch. XL : Economics of Glaum-Without-Bones
The Silver Stallion (1926)

21 Lessons for the 21st Century

Z̤iāʼulḥasan Fārūq in: p. 1-2.
About Zakir Hussain, Quest for Truth (1999)

I just drain from that source. I just drain everything. So the magic is there.
Interview in Rolling Stone (9 November 1967)

The memories are deeply humiliating in two ways: they remind the adult that he was once more ignorant and gullible and emotional than he is; and they remind him that he once was, potentially, far more than he is.
“An Unread Book”, p. 19
The Third Book of Criticism (1969)

The Magic of Images: Word and Picture in a Media Age (2004)

Abdullah had heard that one before. He bowed over his tucked-up hands. "Many and various are the virtues said to reside in carpets," he agreed. "Which one does the poet of the sands claim for this? Does it welcome a man home to his tent? Does it bring peace to the hearth? Or maybe," he said, poking the frayed edge suggestively with one toe, "it is said to never wear out?"
Source: Castle Series, Castle in the Air (1990), pp. 16-17.

Laterna Magica (1987); The Magic Lantern : An Autobiography as translated by Joan Tate (1988).
Variant translation: Film as dream, film as music. No art passes our conscience in the way film does, and goes directly to our feelings, deep down into the dark rooms of our souls.
As quoted in "Ev'ry Time We Say Goodbye" by John Berger, Sight and Sound (June 1991).

The Believer interview (2013)

De Abaitua interview (1998)

Dr. Eduardo Padron, President of w:Miami Dade College (June 16, 2005)
About, 2000s

When orchestrated and distributed in that way, it leads to disappointment and rancour, and can lead to the enthronement of sillier or nastier idols.
1990s, The Monarchy: A Critique of Britain's Favourite Fetish

Dignity in the sentiments, dignity in the style. Quite a woman's book — (don't frown, Miss Fytche — I mean it for compliment) — none but a woman & a lady could possess that tact of minute observation, & that delicacy of sarcasm.
Arthur Henry Hallam, letter to fiancé Emily (Emilia) Tennyson (1833-01-25), Jane Austen and her Readers, 1786-1945, by Katie Halsey (Anthem Nineteenth-Century Series)

Source: The Kingdom of Gods (2011), Chapter 13 (p. 325)

Source: The Kingdom of Gods (2011), Chapter 1 (p. 35)

The 9th Technique (p. 102)
Short Fiction, Three Moments of an Explosion (2015)

The Aquarian Conspiracy (1980), Chapter Six, Liberating Knowledge: News from the Frontiers of Science

The Love Song of J. Alfred Prufrock (1915)

Tavleen Singh, quoted in https://talageri.blogspot.com/2016/05/hindutva-or-hindu-nationalism.html [This article is a major extract from the article "Sita Ram Goel, memories and ideas" by S. Talageri, written for the Sita Ram Goel Commemoration Volume, entitled "India's Only Communalist", edited by Koenraad Elst, published in 2005.

But, at the same time, how many great culprits escaped this unjust and sanguinary justice! This is what Bodin makes us fully appreciate.

Quoted in Isis Unveiled, by H.P. Blavatsky, Vol. II, Chapter III (1877)
Dogme et Rituel de la Haute Magie (1856)

"Babylon"
Fairies and Fusiliers (1917)

Bradbury Talk Likely to Feature the Unexpected (1994)

On becoming a writer in “Esperanza Spalding Talks Recording an Album in 77 Hours, Sexism in Music & Nicki Minaj” https://www.billboard.com/articles/columns/pop/7973640/esperanza-spalding-77-hours-livestream-album-interview in Billboard (2017 Sep 22)

On why young adult literature is so important in “Safer Is Not Always Better: An Interview With Stacey Lee” https://parnassusmusing.net/2019/08/13/interview-stacey-lee-downstairs-girl/ in Musing (2019 Aug 13)

On the lessons that Downs’ mother instilled in her in “Lila Downs Reminds Us of the Strength Women Bring to Latin America and its History” https://sheshredsmag.com/lila-downs-14/ in She Shreds (2018 May 3)
Womanhood

Source: By the Waters of Babylon (1937)

Source: By the Waters of Babylon (1937)

Source: De Augmentis Scientiarum (1623) as quoted by Edward Thorpe, History of Chemistry, Vol. 1, p. 43.

Original: (it) Sei la pura magia di ritrovare la gioia di amare, la fatica di resisterti, lo splendore di un affetto nato giorno dopo giorno nel silenzio della quotidianità, che ora splende di una luce violenta e vitale che si riflette su tutto ciò che mi sta intorno. Tutto questo... è amore per te.
Source: prevale.net

Original: (it) La notte ci veste di magia, lasciandoci liberi di sognare, viaggiare, interpretare tutto con la profondità della propria anima. La forza del pensiero e di volontà, trasforma il desiderio in realtà.
Source: prevale.net

How Many Does It Take

Miscellaneous Quotes On the Subjects of Magic and Magicians
Source: Dogme et Rituel de la Haute Magi Part I: The Doctrine of Transcendental Magic By Eliphas Levi (Alphonse Louis Constant), Translated by A. E. Waite, England, Rider & Company, England, 1896, p. 53