Wherever we press beyond the thin curtain of rationalist culture, we discover the incredibly rich, erotic, scary, promising presence of this intelligent Other, that beckons us out of history, and says, you know: 'The galaxy lies waiting.'

The party impulse is a very subversive impulse. I mean, you know, a lot of artists have too much integrity to sell their art as a brand; but who has so much integrity that they would turn down a party?

I believe that what makes the psychedelic experience so central is that it is a connection into a larger modality of organization on the planet, which is a fancy way of saying it connects you up to the mind of Nature Herself.

I often like to think that our map of the world is wrong, that where we have centered physics, we should actually place literature as the central metaphor that we want to work out from. Because I think literature occupies the same relationship to life that life occupies to death. A book is life with one dimension pulled out of it. And life is something that lacks a dimension which death will give it. I imagine death to be a kind of release into the imagination in the sense that for characters in a book, what we experience is an unimaginable dimension of freedom.

Language, thought, analysis, art, dance, poetry, mythmaking: these are the things that point the way toward the realm of the eschaton.

In the absence of good scientific data about the effects of artificial hallucinogens it's good to stick to the natural ones.

What is happening, I think, it's really bigger than psychedelics, it's bigger than human evolution. We are not making the waves in this ocean. We are corks, riding the waves of the ocean. But we are privileged, by perhaps chance alone, to occupy a unique moment in the history of the universe. A moment when the universe goes through some kind of self-transforming, evolutionary, inflationary expansion. That's what's happening.