Philip Pullman Quotes

It's easier to see children as mini adults than it is to imagine or to remember what it is to be a child again.

There are good books which are only for adults. There are no good books which are only for children.

Children will often write, 'We love your books because there are no adults in them.'

When people ask me what qualifies me to be a writer for children, I say I was once a child. But I was not only a child, I was, better still, a weird little kid, and though I would never choose to give my own children this particular preparation for life, there are few things, apparently, more helpful to a writer than having once been a weird little kid.

I've always said that Watership Down is not a book for children. I say: it's a book, and anyone who wants to read it can read it.

There are 500 reasons I write for children.... Children read books, not reviews. They don't give a hoot about the critics.... They don't read to free themselves of guilt, to quench their thirst for rebellion, or to get rid of alienation. They still believe in God, the family, angels, devils, witches, goblins, logic, clarity, punctuation, and other such obsolete stuff.... They don't expect their beloved writer to redeem humanity. Young as they are, they know that it is not in his power. Only the adults have such childish illusions.

For me, a good children's book is a good children's book is a good children's book.

Even though I have this solid career in picture books, I've not only been thinking about kids - because I don't think that much about children; I'm not a child educator; I'm just a former child.

This is the value for me of writing books that children read. Children aren't interested in your appalling self-consciousness. They want to know what happens next. They force you to tell a story.

It seemed more and more like something out of a children's book - the butterfly that followed the little girl all the way home to her fifth-floor walk-up. How above-the-law children's books are. Hansel and Gretel (littering, breaking and entering), Rumpelstiltskin (forced labor), Snow White (conspiracy to commit murder), Rapunzel (breach of contract).

The weekly cartoons, as were my plays, came from a sense of criticism, criticism of the times, critical of the culture, of our manners and attitudes towards each other. The children's books come from the reverse. They're more supportive, since we're living in a time where we talk more about kids and do less, we talk about balancing the budget and we do it by cutting education.

If I have something I want to say that is too difficult for adults to swallow, then I write it in a book for children. Children still haven't closed themselves off with fear of the unknown, fear of revolution, or the scramble for security. They are still familiar with the inborn vocabulary of myth

I feel like I own all the kids in the world because, since I've never grown up myself, all my books are automatically for children.

I didn't trust adults because I thought they were all kind of corrupted. I thought children were pure and innocent, and that was inherently better. I guess I was a philosophical child.

I create books for six-year-olds. I don't know why that time of my life was so important to me, but no matter what I draw, it always looks like it comes from a children's book. I can't resist. I'll set out to paint a serious picture then think, "Well, maybe there would be a little bunny in that corner."

The kind of response I hope for when I write my novels for children: to give them a chance to recognize something of their own feelings -- about themselves, their parents, their friends -- and their own situation as a kind of subject race, always at the mercy of the adults who mostly run their lives for them.

No one, at any rate no English writer, has written better about childhood than Dickens. In spite of all the knowledge that has accumulated since, in spite of the fact that children are now comparatively sanely treated, no novelist has shown the same power of entering into the child's point of view.

With "Margaret," I remember clearly it was, you know because I did remember it clearly. I was young. I was young in terms of experience and what did I know about and I had an incredible memory from my own childhood. And so it never occurred to me to write for any other age group. And I thought I'm going to write a book and I'm going to tell the truth.

There really is no difference in the actual writing or plotting. I choose to tell different stories for the younger reader and, of course, I would never put sex and extreme violence in a YA book. But writing for adults and children requires the same care and attention.

In our time, when the literature for adults is deteriorating, good books for children are the only hope, the only refuge.

There's some things that you wouldn't tackle in a children's book because it would be beyond, not the mental capabilities, but the experience of someone under the age of say ten or eleven to encompass. But that field is smaller than you might think. They can easily cope with death and things like that; they know about it and it's a subject that often preoccupies them.

I still retain a bit of a child's focus on things, so we [with my sister] figure if we're going to write books, our best shot is to write children's books, because we relate pretty readily on that level.

And so I write the way I myself would like the book to be – if I were a child. I write for the child within me.

When a child keeps asking you to tell him/her a story, what they instinctively really want to know -- is their true purpose and mission in life. Sadly, this knowledge was never sought out by their parents, and explains why childrens books are a very hot and lucrative industry. Instead of telling your child the truth of our history and existence, you are conditioned by society to simply read your kid a fairytale.

I have a passion for children's literature. Young adult literature. I love it. I've always loved it.