Philip Pullman Quotes

We can control the future, my boy, just as we wind up the mechanism in a clock. Say to yourself: I will win that race — I will come first — and you wind up the future like clockwork. The world has no choice but to obey! Can the hands of that old clock in the corner decide to stop? Can the spring in your watch decide to wind itself up and run backward? No! They have no choice. And nor has the future, once you have wound it up.

"But we can trust him Roger, I swear," she said with a final effort,"Because he's Will."

No one, not even Shakespeare, surpasses Milton in his command of the sound, the music, the weight and taste and texture of English words.

She longed for cutlasses, pistols, and brandy; she had to make do with coffee, and pencils, and verbs.

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.

As for what it's against - the story is against those who pervert and misuse religion, or any other kind of doctrine with a holy book and a priesthood and an apparatus of power that wields unchallengeable authority, in order to dominate and suppress human freedoms.

If you wanted to divert a mighty river into a different course, and all you had was a single pebble, you could do it, as long as you put the pebble in the right place to send the first trickle of water that way instead of this.

That’s what you are. Argue with anything else, but don’t argue with your own nature.

What is worth having is worth working for.

When you choose one way out of many, all the ways you don't take are snuffed out like candles, as if they'd never existed. At that moment all Will's choices existed at once. But to keep them all in existence meant doing nothing. He had to choose, after all.

He nestled in her arms, and she knew she would rather die than let them be parted and face that sadness again; it would send her mad with grief and terror.

It was difficult to tell them the truth when a lie would have been so much easier for them to understand.

"And that was how sin came into the world," he said, "sin and shame and death. It came the moment their daemons became fixed."

"But..." Lyra struggled to find the words she wanted: "but it en't true, is it? Not true like chemistry or engineering, not that kind of true? There wasn't really an Adam and Eve? The Cassington Scholar told me it was just a kind of fairy tale."

"The Cassington Scholarship is traditionally given to a freethinker; it's his function to challenge the faith of the Scholars. Naturally he'd say that. But think of Adam and Eve like an imaginary number, like the square root of minus one: you can never see any concrete proof that it exists, but if you include it in your equations, you can calculate all manner of things that couldn't be imagined without it.

"Anyway, it's what the Church has taught for thousands of years. And when Rusakov discovered Dust, at last there was a physical proof that something happened when innocence changed into experience.

"Incidentally, the Bible gave us the name Dust as well. At first they were called Rusakov Particles, but soon someone pointed out a curious verse toward the end of the Third Chapter of Genesis, where God's cursing Adam for eating the fruit."

He opened the Bible again and pointed it out to Lyra. She read:

"In the sweat of thy face shalt thou eat bread, till thou return unto the ground; for out of it wast thou taken: for dust thou art, and unto dust shalt thou return...."

Lord Asriel said, "Church scholars have always puzzled over the translation of that verse. Some say it should read not 'unto dust shalt thou return' but 'thou shalt be subject to dust,' and others say the whole verse is a kind of pun on the words 'ground' and 'dust,' and it really means that God's admitting his own nature to be partly sinful. No one agrees. No one can, because the text is corrupt. But it was too good a word to waste, and that's why the particles became known as Dust."

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

I have said that His Dark Materials is not fantasy but stark realism, and my reason for this is to emphasise what I think is an important aspect of the story, namely the fact that it is realistic, in psychological terms. I deal with matters that might normally be encountered in works of realism, such as adolescence, sexuality, and so on; and they are the main subject matter of the story – the fantasy (which, of course, is there: no-one but a fool would think I meant there is no fantasy in the books at all) is there to support and embody them, not for its own sake.

Dæmons, for example, might otherwise be only a meaningless decoration, adding nothing to the story: but I use them to embody and picture some truths about human personality which I couldn't picture so easily without them. I'm trying to write a book about what it means to be human, to grow up, to suffer and learn. My quarrel with much (not all) fantasy is it has this marvelous toolbox and does nothing with it except construct shoot-em-up games. Why shouldn't a work of fantasy be as truthful and profound about becoming an adult human being as the work of George Eliot or Jane Austen?