Songs are like myths. Myths are useful because they allow you to cast yourself and your life and your own experience. And for some people, 'Fire and Rain' speaks to them in that way.
In the beginning was the myth. God, in his search for self-expression, invested the souls of Hindus, Greeks, and Germans with poetic shapes and continues to invest each child's soul with poetry every day.
For myth is at the beginning of literature, and also at its end.
I think that storytelling and creation are very close to what the center of what magic is about. I think not just for me, but for most of the cultures that have had a concept of magic, then the manipulation of language, and words, and thus of stories and fictions, has been very close to the center of it all.
For the spell is older than experience. For the tale is older than the record.
A story is not something of this world. A real story requires a kind of magical baptism to link the world on this side with the world on the other side.
The Watch is a powerful tale, courageous both in concept and creation: an ancient tale made modern, passed through different narrators in extraordinary shape-shifting prose that makes this not just an important novel, but a remarkable read.
There is a narrative to every life, and I believe in the classic mode of storytelling that goes back to Homer and carries through to today.
Nothing endures unless it has first been transposed into a myth, and the great advantage of myths is that they are ladies with portable roots.
The divine art is the story.
It doesn't matter how you live and die, it's how the bards wrote it down.
We have such a young culture that there is an opportunity to contribute wonderful new myths to it, which will be accepted.
Exaggerated history is poetry, and truth referred to a new standard.
I believe it, Chronicler found himself thinking. Before it was just a story, but now I can believe it. This is the face of a man who has killed an angel.
What is becoming more interesting than the myths themselves has been the study of how the myths were constructed from sparse or unpromising facts indeed, sometimes from no facts in a kind of mute conspiracy of longing, very rarely under anybody's conscious control.
The important thing to understand about American history, wrote Mr. Ibis, in his leather-bound journal, is that it is fictional, a charcoal-sketched simplicity for the children, or the easily bored.
I have always thought that these two ways of talking, one is the fantastic, the fable, the fairy tale, and the other being history, the scholarly study of what happened, I think they're both amazing ways to understand human nature.
The true novelist is one who understands the work as a continuous poem, is a myth-maker, and the wonder of the art resides in the endless different ways of telling a story.
I think a myth is created from truth.
I do think that this represents a kind of shift towards myth, a recovery of myth, largely through the popularity of writers like Philip Pullman. Somehow myths have returned as a serious subject. It used to be scorned...really scorned. It was part of a nursery tradition, and it was also rather tainted - but not in an immovable way - by the association with right-wing ideologies after the World Wars.
[Kafka] transformed the profoundly antipoetic material of a highly bureaucratized society into the great poetry of the novel; he transformed a very ordinary story of a man who cannot obtain a promised job . . . into myth, into epic, into a kind of beauty never before seen.
Myth is more individual and expresses life more precisely than does science.
