I think about things like the fact that nobody knows what time is. Time is what? Nobody can describe it, even physics or math or anything else. But it is what we continuously experience. It's the state of our unfolding, in a way, and in that sense that the continuous reopening of reality is what I think of as, perhaps, a worldview.

I think probably one of the important things that happened to me was growing up in Idaho in the mountains, in the woods, and having a very strong presence of the wilderness around me. That never felt like emptiness. It always felt like presence.

I used to write on a big old couch, but I gave that away. I was wise enough to give it to my son, so if it turns out that the couch was essential to my work, at least the decision to be rid of it is not irreversible.

I was read to as a small child, I read on my own as soon as I could, and I recall being more or less overwhelmed again and again - if not by what the books actually said, by what they suggested, what they helped me to imagine.

I'm a great admirer of secularism. At its best, I think it's one of the best things that we have. I don't believe in insinuating religion into conversation. I don't believe in excluding it from conversation. I enjoy the fact that people's innermost thoughts are their own.

My Calvinism persuades me that we are open to God, in the sense that we are not delimited, not organisms with fixed attributes in the manner of the other creatures, but are instead participants in a reality that utterly exceeds our powers of description.

My family was pious and Presbyterian mainly because my grandfather was pious and Presbyterian, but that was more of an inherited intuition than an actual fact.

My first novel, 'Housekeeping,' was accepted by the first agent who read it, and bought by the first editor who read it. In general, my experience with publication has been gentle and gratifying.

Oddly enough, my favorite genre is not fiction. I'm attracted by primary sources that are relevant to historical questions of interest to me, by famous old books on philosophy or theology that I want to see with my own eyes, by essays on contemporary science, by the literatures of antiquity.

Teaching is a distraction and a burden, but it's also an incredible stimulus. And a reprieve, in a way. When you're trying to work on something and it's not going anywhere, you can go to school and there's a two-and-a-half-hour block of time in which you can accomplish something.

The idea that myth is the opposite of knowledge, or the opposite of truth, is simply to disallow it. It is like saying poetry is the opposite of truth.

The mind, whatever else it is, is a constant of everyone's experience, and, in more ways than we know, the creator of the reality that we live within... Nothing is more essential to us.

When I lecture, under almost all circumstances, I write a new lecture for the occasion. It helps me think. It helps me make demands of myself that I would not otherwise make.

When I read 'Paradise Lost,' or 'Richard III,' it is clear that Milton and Shakespeare took real pleasure and satisfaction from creating these epitomes of evil.

When I went to college, I majored in American literature, which was unusual then. But it meant that I was broadly exposed to nineteenth-century American literature. I became interested in the way that American writers used metaphoric language, starting with Emerson.

When I'm writing fiction, I'm sort of interested by the fact that somehow or other I can have the feeling of actually seeing things through someone else's eyes.

For our purposes as human beings, the mind is the center of everything.

I don't think I could write a novel that wasn't theological.

I find that the hardest work in the world... is to persuade Easterners that growing up in the West is not intellectually crippling.

I listen to Bach a great deal. In general I like to listen to hymns and liturgical music.