"Why you fool, it's the educated reader who can be gulled. All our difficulty comes with the others. When did you meet a workman who believes the papers? He takes it for granted that they're all propaganda and skips the leading articles. He buys his paper for the football results and the little paragraphs about girls falling out of windows and corpses found in Mayfair flats. He is our problem. We have to recondition him. But the educated public, the people who read the highbrow weeklies, don’t need reconditioning. They're all right already. They’ll believe anything."

“The trouble about trying to make yourself stupider than you really are is that you very often succeed.”

“Then he tried to recall the lessons of Mr. Wisdom. “it is I myself, eternal Spirit, who drives this Me, the slave, along that ledge. I ought not to care whether he falls and breaks his neck or not. It is not he that is real, it is I – I – I.”

“The human imagination has seldom had before it an object so sublimely ordered as the medieval cosmos. If it has an aesthetic fault, it is perhaps, for us who have known romanticism, a shade too ordered. For all its vast spaces it might in the end afflict us with a kind of claustrophobia. Is there nowhere any vagueness? No undiscovered by-ways? No twilight? Can we never really get out of doors?”

“Of course a war is entertaining. The immediate fear and suffering of the humans is a legitimate and pleasing refreshment for our myriads of toiling workers. But what permanent good does it do us unless we make use of it for bringing souls to Our Father Below? When I see the temporal suffering of humans who finally escape us, I feel as if I had been allowed to taste the first course of a rich banquet and then denied all the rest. It is worse than not to have tasted it at all. The Enemy, true to His barbarous methods of warfare, allows us to see the short misery of His favourites only to tantalize and torment us — to mock the incessant hunger, which, during this present phase of great conflict, His blockade is admittedly imposing.”

“Christian Apocalyptic offers us no such hope. It does not even foretell, a gradual decay. It foretells a sudden, violent end imposed from without; an extinguisher popped onto the candle, a brick flung at the gramophone, a curtain rung down on the play — "Halt!”

“And all the time — such is the tragi-comedy of our situation — we continue to clamor for those very qualities we are rendering impossible. You can hardly open a periodical without coming across the statement that what our civilization needs is more “drive”, or dynamism, or self-sacrifice, or “creativity”. In a sort of ghastly simplicity we remove the organ and demand the function. We make men without chests and expect of them virtue and enterprise. We laugh at honour and are shocked to find traitors in our midst. We castrate and bid the geldings be fruitful.”