Of all the things a man may do, sleep probably contributes most to keeping him sane. It puts brackets about each day. If you do something foolish or painful today, you get irritated if somebody mentions it, today. If it happened yesterday, though, you can nod or chuckle, as the case may be. You've crossed through nothingness or dream to another island in Time.

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Then the fit hit the Shan.

"How can you treat death so lightly?" she asks.
"Because it happens," he replies. "It is inevitable. I do not mourn the falling of a leaf or the breaking of a wave. I do not sorrow for a shooting star as it burns itself up in the atmosphere. Why should I?"

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"And the secret is," I lowered my voice, as at a poetry reading, "he was right! It is vanity, it is pride! It is the hubris of rationalism to always attack the prophet, the mystic, the god. It is our blasphemy which has made us great, and will sustain us, and which the gods secretly admire in us."

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Well, I decided that as a teenager that I really didn't know enough to describe character well and I was wasting my time. I'd learned as much as I could about story telling techniques and it wasn't a matter of technique any more. It was a matter of substance. As a result I said I was going to wait until I was a lot older and had more experience. So it was that after I got out of college I'd been away from SF for about four years. I'd read SF steadily from when I was eleven until I started college. When I started college I said, "I'm not going to read that while I'm here, I'm going to learn poetry and other things of that sort" in fact I wrote a lot of poetry then.

In a room the size of a ballroom the Pattern was laid. The floor was black and looked smooth as glass. And on the floor was the Pattern.
It shimmered like the cold fire that it was, quivered, made the whole
room seem somehow unsubstantial. It was an elaborate tracery of bright power, composed mainly of curves, though there were a few straight lines near its middle. It reminded me of a fantastically intricate, life-scale version of one of those maze things you do with a pencil (or ballpoint, as the case may be), to get you into or out of something. Like, I could almost see the
words “Start Here,” somewhere way to the back. It was perhaps a hundred
yards across at its narrow middle, and maybe a hundred and fifty long.
It made bells ring within my head, and then came the throbbing. My mind recoiled from the touch of it. But if I were a prince of Amber, then somewhere within my blood, my nervous system, my genes, this pattern was recorded somehow, so that I would respond properly, so that I could walk the
bloody thing.

Occasionally, there arises a writing situation where you see an alternative to what you are doing, a mad, wild gamble of a way for handling something, which may leave you looking stupid, ridiculous or brilliant -you just don't know which. You can play it safe there, too, and proceed along the route you'd mapped out for yourself. Or you can trust your personal demon who delivered that crazy idea in the first place.
Trust your demon.

I sank Atlantis," he said, "personally.
"It was about three years ago. And God! it was lovely! It was all ivory towers and golden minarets and silver balconies. There were bridges of opal, and crimson pennants and a milk-white river flowing between lemon-colored banks. There were jade steeples, and trees as old as the world tickling the bellies of clouds, and ships in the great sea-harbor of Xanadu, as delicately constructed as musical instruments, all swaying with the tides. The twelve princes of the realm held court in the dozen-pillared Coliseum of the Zodiac, to listen to a Greek tenor sax play at sunset."