Philip Pullman

"I don't profess any religion; I don't think it’s possible that there is a God; I have the greatest difficulty in understanding what is meant by the words ‘spiritual’ or ‘spirituality.'[Interview, The New Yorker, Dec. 26, 2005]"

"I’m working on another Lyra book right now – it’s called The Book of Dust.“It’s going very well and it will be finished when I write the words ‘The End’."

"Blake said Milton was a true poet and of the Devil's party without knowing it. I am of the Devil's party and know it."

"I’m with the fool in the psalm. You thought we could get on without you; no – you didn’t care whether we got on without you or not. You just got up and left. So that’s what we’re doing, we’re getting on."

"All writing is difficult. The most you can hope for is a day when it goes reasonably easily. Plumbers don’t get plumber’s block, and doctors don’t get doctor’s block; why should writers be the only profession that gives a special name to the difficulty of working, and then expects sympathy for it?"

"I was connected to God like that, and because he was there, I was connected to the whole of his creation."

"she delighted in being of the same substance as them, and in knowing that when she died her flesh would nourish other lives as they had nourished her."

"Lyra marveled at the effect hope could have."

"There are some themes, some subjects, too large for adult fiction; they can only be dealt with adequately in a children’s book. In adult literary fiction, stories are there on sufferance. Other things are felt to be more important: technique, style, literary knowingness… The present-day would-be George Eliots take up their stories as if with a pair of tongs. They’re embarrassed by them. If they could write novels without stories in them, they would. Sometimes they do. We need stories so much that we’re even willing to read bad books to get them, if the good books won’t supply them. We all need stories, but children are more frank about it."

"When you stopped believing in God," he went on, "did you stop believing in good and evil"No. But I stopped believing there was a power of good and a power of evil that were outside us. And I came to believe that good and evil are names for what people do, not for what they are. All we can say is that this is a good deed, because it helps someone, or that's an evil one, because it hurts them. People are too complicated to have simple labels."

"“After nourishment, shelter and companionship, stories are the thing we need most in the world.”"

"The best way to get kids to read a book is to say: 'This book is not appropriate for your age, and it has all sorts of horrible things in it like sex and death and some really big and complicated ideas, and you’re better off not touching it until you’re all grown up. I’m going to put it on this shelf and leave the room for a while. Don’t open it."

"Stories don’t teach us to be good; it isn’t as simple as that. They show us what it feels like to be good, or to be bad. They show us people like ourselves doing right things and wrong things, acting bravely or acting meanly, being cruel or being kind, and they leave it up to our own powers of empathy and imagination to make the connection with our own lives. Sometimes we do, sometimes we don’t. It isn’t like putting a coin in a machine and getting a chocolate bar; we’re not mechanical, we don’t respond every time in the same way…The moral teaching comes gently, and quietly, and little by little, and weighs nothing at all. We hardly know it’s happening. But in this silent and discreet way, with every book we read and love, with every story that makes its way into our heart, we gradually acquire models of behaviour and friends we admire and patterns of decency and kindness to follow."

"Stories don’t teach us to be good; it isn’t as simple as that. They show us what it feels like to be good, or to be bad. They show us people like ourselves doing right things and wrong things, acting bravely or acting meanly, being cruel or being kind, and they leave it up to our own powers of empathy and imagination to make the connection with our own lives. Sometimes we do, sometimes we don’t. It isn’t like putting a coin in a machine and getting a chocolate bar; we’re not mechanical, we don’t respond every time in the same way…The moral teaching comes gently, and quietly, and little by little, and weighs nothing at all. We hardly know it’s happening. But in this silent and discreet way, with every book we read and love, with every story that makes its way into our heart, we gradually acquire models of behavior and friends we admire and patterns of decency and kindness to follow."

"There are some themes, some subjects, too large for adult fiction; they can only be dealt with adequately in a children's book. The reason for that is that in adult literary fiction, stories are there on sufferance. Other things are felt to be more important: technique, style, literary knowingness. Adult writers who deal in straightforward stories find themselves sidelined into a genre such as crime or science fiction, where no one expects literary craftsmanship. But stories are vital. Stories never fail us because, as Isaac Bashevis Singer says, "events never grow stale." There's more wisdom in a story than in volumes of philosophy. And by a story I mean not only Little Red Riding Hood and Cinderella and Jack and the Beanstalk but also the great novels of the nineteenth century, Jane Eyre, Middlemarch, Bleak House and many others: novels where the story is at the center of the writer's attention, where the plot actually matters. The present-day would-be George Eliots take up their stories as if with a pair of tongs. They're embarrassed by them. If they could write novels without stories in them, they would. Sometimes they do. But what characterizes the best of children's authors is that they're not embarrassed to tell stories. They know how important stories are, and they know, too, that if you start telling a story you've got to carry on till you get to the end. And you can't provide two ends, either, and invite the reader to choose between them. Or as in a highly praised recent adult novel I'm about to stop reading, three different beginnings. In a book for children you can't put the plot on hold while you cut artistic capers for the amusement of your sophisticated readers, because, thank God, your readers are not sophisticated. They've got more important things in mind than your dazzling skill with wordplay. They want to know what happens next."

"To be sure, there's a warm passion behind what you say. But if you give in to that passion, friends, you're doing what I always warned you agin: you're a placing the satisfaction of your own feelings above the work you have to do... Don't you worry that John Faa's heart is too soft to strike a blow when the time comes. And the time will come under judgement. Not under passion."

"Dust is not a constant. There’s not a fixed quantity that has always been the same. Conscious beings make Dust—they renew it all the time, by thinking and feeling and reflecting, by gaining wisdom and passing it on. And if you help everyone else in your worlds to do that, by helping them to learn and understand about themselves and each other and the way everything works, and by showing them how to be kind instead of cruel, and patient instead of hasty, and cheerful instead of surly, and above all how to keep their minds open and free and curious…Then they will renew enough to replace what is lost through one window. So there could be one left open."

"It comes from history. It comes from the record of the Inquisition, persecuting heretics and torturing Jews and all that sort of stuff; and it comes from the other side, too, from the Protestants burning the Catholics. It comes from the insensate pursuit of innocent and crazy old women, and from the Puritans in America burning and hanging the witches — and it comes not only from the Christian church but also from the Taliban. Every single religion that has a monotheistic god ends up by persecuting other people and killing them because they don't accept him. Wherever you look in history, you find that. It’s still going on."

"The act of true reading is in its very essence democratic. Consider the nature of what happens when we read a book - and I mean, of course, a work of literature, not an instruction manual or a textbook - in private, unsupervised, un-spied-on, alone. It isn't like a lecture: it's like a conversation. There's a back-and-forthness about it. The book proposes, the reader questions, the book responds, the reader considers. We bring our own preconceptions and expectations, our own intellectual qualities, and our limitations, too, our own previous experiences of reading, our own temperament, our own hopes and fears, our own personality to the encounter."

"I'm trying to undermine the basis of Christian belief... I'm not in the business of offending people. I find the books upholding certain values that I think are important, such as life is immensely valuable and this world is an extraordinarily beautiful place. We should do what we can to increase the amount of wisdom in the"