"My work allows me to exorcise my ghosts. I purge the pain from it. The words are my tears on the page. Perhaps I'd be less serene without it. I tend to be melancholy. The work helps me to put that on the page."

"remember that love is like kerosene. The more you have, the more you burn. (p199)"

"Many times I've looked into a pig's eye and convinced myself that inside that brain is a sentient being, who is looking back at me observing him wondering what he's thinking about."

"Mace," I said, struck by a thought, "did you ever think that all those people in those cars have a whole separate story to them, that it's just as important to them as our stuff is to us, and we don't know anything about it. Maybe sometime we'll run across somebody and two years ago they were driving past us on the highway and we never knew it. Like sometimes we meet people and bump off of them and never see them again and we never know why paths cross."

"It was weird being lonesome in a place full of people."

"I remembered what Jamie had said, that love doesn't solve anything. Maybe. But it helps."

"Rejection is nature's way of telling you to write a better book."

"I have final say on the plot and characters, she has final say on the words and descriptions."

"I have always had a fascination with traveling to magical places. Many of my own stories take place in other places, other dimensions. I guess I'm the ultimate escapist."

"And now from the window of a four-wheeled cab the Queen of Babylon beheld the wonders of London. Buckingham Palace she thought uninteresting; Westminster Abbey and the Houses of Parliament little better. But she liked the Tower, and the River, and the ships filled her with wonder and delight. ‘But how badly you keep your slaves. How wretched and poor and neglected they seem,’ she said, as the cab rattled along the Mile End Road. ‘They aren’t slaves; they’re working-people,’ said Jane. ‘Of course they’re working. That’s what slaves are. Don’t you tell me. Do you suppose I don’t know a slave’s face when I see it? Why don’t their masters see that they’re better fed and better clothed? Tell me in three words.’ No one answered. The wage-system of modern England is a little difficult to explain in three words even if you understand it—which the children didn’t. ‘You’ll have a revolt of your slaves if you’re not careful,’ said the Queen. ‘Oh, no,’ said Cyril; ‘you see they have votes—that makes them safe not to revolt. It makes all the difference. Father told me so.’ ‘What is this vote?’ asked the Queen. ‘Is it a charm? What do they do with it?’ ‘I don’t know,’ said the harassed Cyril; ‘it’s just a vote, that’s all! They don’t do anything particular with it.’ ‘I see,’ said the Queen; ‘a sort of plaything.'"

"I do not know how far Nesbit consciously intended The Magic City to be an allegory of the human condition. It was only after I descended from the trees, and tasted the joys and sorrows of becoming a scientist, that I began to meditate upon the magic city and to see in it a mirror image of the big world that I was entering. I was plunged into the big world abruptly, like Philip. The big world, wherever I looked, was full of human tragedy. I came upon the scene and found myself playing roles that were half serious and half preposterous. And that is the way it has continued ever since."

"When thoroughly reliable people encounter ghosts, their stories are difficult to explain away."

"A good yarn, an offbeat tale, a bloodcurdling ghost story -- they need no explanation or excuse for the telling!"

"Lorin Morgan-Richards art reminds me of a modern day Charles Addams or Edward Gorey. He dabbles in the unusual and strange, yet there's just enough of the familiar in his artwork to keep it grounded."

"The fountain of youth resides in our memory. You will never outlive your shadow."

"Lorin Morgan-Richards has woven the most whimsically woeful stories this side of Edward Gorey!"

"Autumn colors remind us we are all one dancing in the wind."

"We are free falling backward through time, reincarnating ourselves from our past, reflecting the chaotic energy of the present."

"I believe dreams connect us to our ancestors and it is through creativity that we can tap into this in the conscious state. Creativity is a sort of trance that we have as artists that erases time and space."

"Morgan-Richards knows the best fantasy fiction isn't safe. His story tackles mature themes in a way that's accessible to youngsters, but doesn't candy-coat the topic. The author presents his themes¾colonialism, exploitation, and environmentalism¾in a graspable manner using fantastical characters and creatures. His world is one in which noble animals speak, and humans are often monstrous beasts. While sophisticated youngsters can easily digest the adventure story, it also gives them much to think about in terms of responsible stewardship of the Earth and its inhabitants. To say that the author’s ultimate goal is to instill empathy would not be far-fetched."

"I believe it has come out of the zombie effect of assimilation. Certain young people are fed up with the commercialization of society, of corporations and political parties trying to define us, of stereotypes and racism based [on] greed and power and of the dominant culture building parking lots and malls over our heritage sites."

"It's mad isn’t it. I guess I just wanted to make something that people would cherish and hope to hold on to for a while. The goal is to make each book a unique work of art, with an intrinsic quality all their own."

"It is important to teach our young about who they are and how culture can empower them to help the greater community. It is very difficult, especially in the age of technology to curb what mass-media and marketing try to tell us who we are, and even more difficult when those closest to you act uninterested. It is an uphill climb, sometimes alone, to find the truth."

"Lorin Morgan Richards charts the paths of weird clouds that pass far overhead and then maps the changes that their rain makes on the lives of people living below."

"The universe is made of our thoughts. Our thoughts are infinite."

"A bully is nothing more than a bunch of bull with a Y attached to its rear."

"What is the point of relaying every word when the words become the crime of friendship."

"Old robots are becoming more human and young humans are becoming more like robots."

"Humor bridges the weight of serious reflection."

"I'm done adulting, let's be sharks that eat mermaids."

"I am most comfortable with writing and pen and ink illustrations. My filter tends to be cut ups of what is around me blurred into my own feelings and interests of the Victorian era. I don't try to categorize myself but I do recognize my influences are a bit more macabre than usual."

"Primarily, they (ideas) come from daydreaming or every day occurrences. I try to get out and about, especially new places to let the environment inspire me. I start an illustration of a building I see and then the elements of different characters will populate in my mind like a set and actors on a stage. If nothing comes up I continue to draw until something unfolds."

"In choosing my materials I wanted to keep an organic feel to the book. Some might consider this an art book, but I was really just trying to give it some life. Having seen what is being printed by majors these days with poor quality paper, I wanted to provide the reader with a book that carries more value near the same price and that can last for generations. Nothing would be more inspiring to me than to know my books are treasured like an heirloom."

"I fall into the category of Weird West, but I think it may be more of a “Down West” as I’d like to call it, for its sense of macabre western humor."

"“But what am I to do?” cried the Prince. “What you feel you must,” said the Theel. “That’s the only thing to do at any time.”"

"The Prince then remembered the white-haired Theel in the Castle of Bone, who had also been kind, if a little odd, and he wondered why such nice creatures always seemed to live in bad places with wicked things going on all around them. “That’s easy,” said the girl, seeming to read his thoughts as the other Theel had done. “The bad places are where we can do the most good.”"

"The harshest lesson of all was that which ran contrary to the teaching of his own personality."

"Like many a longed-for gift, it was, in possession, unwelcome."

"“Why,” she said, “did they leave their kingdom to us?” “As well ask why they brought our ancestors to this star. Oh, yes, I think our races were taken from some other planet entirely, to be their toy. If we guess them to be gods, why stint them? Their avarice and callousness would be gargantuan. We can hardly fail to see that.”"

"It was idiotic to be superstitious."

"Ceedres was her god. To be happy, she must worship him, and let him destroy her, and take pleasure in it."

"For, though sometimes worshipping gods, the Yunea did not permit itself to stray too far onto the abstract path of sheer faith. An ambience of security was all the aristocrats required, a guarantee that fate loved them."

"Self-love is neither fantasy nor vulgar joke. The totality of the “I,” the inbuilt survival and self-protective trait, is one of the most unshakable syndromes known to psycho-science."

"In our place, we can hardly go backward, but neither should we ignore the nakedness of humanity before the huge-wheeled vehicle of progress. We have too much to give, and far too much to learn, to throw ourselves away."

"In the partial silence, the ocean asserted itself, waves hurled loudly against rock, slithering back with smashed spines, then, healed by immersion, hurled forward again."

"Of the rest, nothing further is said, save that lovers love and live and, in due season, as all men must, they also die. And so with Ezail and Chavir who had been Sovaz and Oloru, Azhriaz and Chuz. For such was and is mortal life, mortal death. But for love, who can predict or measure, plot, ascribe, or declare an end. Love is one of the immortals."

"But among the aristocrats whose existence could be lengthily prolonged into three or four hundred spans, boredom came to be the killer, a bizarre running down, a sort of decline and decay, nonphysical but fatal."

"Nothing can be learned without some measure of risk, and, more vital still, of patience."

"She had no reason not to believe in the impossible. Desperation was always ready to pray for miracles."