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Alan Watts

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So in this idea, then, everybody is fundamentally the ultimate reality. Not God in a politically kingly sense, but God in the sense of being the self, the deep-down basic whatever there is. And you're all that, only you're pretending you're not. And it's perfectly OK to pretend you're not, to be perfectly convinced, because this is the whole notion of drama.
--
The Nature of Consiousness; also published as What Is Reality? (1989)

 
Alan Watts

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If there is a sense of reality, there must also be a sense of possibility. To pass freely through open doors, it is necessary to respect the fact that they have solid frames. This principle, by which the old professor had lived, is simply a requisite of the sense of reality. But if there is a sense of reality, and no one will doubt that it has its justifications for existing, then there must also be something we can call a sense of possibility. Whoever has it does not say, for instance: Here this or that has happened, will happen, must happen; but he invents: Here this or that might, could, or ought to happen. If he is told that something is the way it is, he will think: Well, it could probably just as well be otherwise. So the sense of possibility could be defined outright as the ability to conceive of everything there might be just as well, and to attach no more importance to what is than to what is not.

 
Robert Musil
 

We must grant the artist his subject, his idea, what the French call his donnée; our criticism is applied only to what he makes of it. Naturally I do not mean that we are bound to like it or find it interesting: in case we do not our course is perfectly simple — to let it alone. We may believe that of a certain idea even the most sincere novelist can make nothing at all, and the event may perfectly justify our belief; but the failure will have been a failure to execute, and it is in the execution that the fatal weakness is recorded. If we pretend to respect the artist at all we must allow him his freedom of choice, in the face, in particular cases, of innumerable presumptions that the choice will not fructify. Art derives a considerable part of its beneficial exercise from flying in the face of presumptions, and some of the most interesting experiments of which it is capable are hidden in the bosom of common things.

 
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A Buddhist saying, which I think captures perfectly the idea that life is a series of opportunities arising out of unforeseen circumstances: Unceasing change turns the wheel of life, and so reality is shown in all its many forms.
Now for those of you who have stayed up all night in advance of today’s activities, it may take a while for the deep wisdom of that idea to fully resonate, but once it creeps into your consciousness, and, as you continue your life’s journey from this day forth, I think the remarkable truth of this statement will surprise and amaze you and possibly even serve as a source of comfort at some point.

 
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A plant, an animal, the regular order of nature — probably also the disposition of the whole universe — give manifest evidence that they are possible only by means of and according to ideas; that, indeed, no one creature, under the individual conditions of its existence, perfectly harmonizes with the idea of the most perfect of its kind — just as little as man with the idea of humanity, which nevertheless he bears in his soul as the archetypal standard of his actions; that, notwithstanding, these ideas are in the highest sense individually, unchangeably, and completely determined, and are the original causes of things; and that the totality of connected objects in the universe is alone fully adequate to that idea.

 
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Writing long books is a laborious and impoverishing act of foolishness: expanding in five hundred pages an idea that could be perfectly explained in a few minutes. A better procedure is to pretend that those books already exist and to offer a summary, a commentary.

 
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