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James Branch Cabell made this book so that he who wills may read the story of mans eternally unsatisfied hunger in search of beauty. Ettarre stays inaccessible always and her lovliness is his to look on only in his dreams. All men she must evade at the last and many ar the ways of her elusion.
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Afterpiece : a hidden inscription on the Sigil of Scoteia (and so spelled, in a peculiar modification of Roman capital letters)

 

James Branch Cabell

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I think that unless a reviewer gets their facts completely wrong, the author should shut up (and even then, the author should probably let it go — although I'm a big fan of a letter that James Branch Cabell wrote to the New York Times pointing out that their review of Figures Of Earth was bollocks. ... For most authors, not being James Branch Cabell, it's probably wisest after reading a particularly stupid or vicious or bad review to mentally compose your letter to the editor, fill it with your sharpest and most cutting and brilliant bon mots, and then, having made it up, to successfully resist the urge to put it to paper, and to return cheerfully to work.

 

James Branch Cabell

 

Ideal Beauty, Ideal Love, and a Dream World belong to the romanticist. And it is through his concepts of these terms and the exercise of his talents with them that James Branch Cabell overtops to-day all other romantic writers in America.
To watch his progress, to trace it through his works, is to observe how he cast off shackle after shackle of limitation, to ultimate unhampered movement over the earth, in the zenith that is Heaven or the pit that is Hell.

 

James Branch Cabell

 

I do believe that encyclopedias are dead as dodos in the old fashioned way. Let me just go back, because earlier around I was interviewed and I said: The book will always be with us. Books - we used to read in scrolls and then they got invented the codex which is basically the form of the book. It has not been improved on. It's like scissors, like a spoon, and like a hammer. It's technology that's perfect in itself and will remain very good. But: What about the content inside of it? Now, there are books that you read for information. And there what you want to do is how to get the information. And it is infinitely more efficient, of higher quality, to use digital sources rather than the published sources for references. So dictionaries and encyclopedias are not going to be done in this very ponderous way of having old books that by the time they come out the information in them is obsolete. Second, you have to search in all of these and open the pages and then you go to an index and come back whereas you can type to search in. [...] But if you want to hold in your hand a slim volume, nicely bound, of the love sonnets of Shakespeare or historical romans, that's a different story. There is the book as artifact, there is the joy in holding the book. And there is an efficiency in the book that you can carry with you in different ways. But I think that the encyclopedias and the dictionaries really are providing a service. And that service can be provided so much more efficiently online that they are bound to change. And if they don't change themselves and go online themselves ... I mean, the old providers, like Britannica, will go online, will provide it, and will try to, in fact, compete with the model that Wikipedia pioneered.

 

Ismail Serageldin

 

In the early part of the 20th century, there was a fantasy writer named James Branch Cabell who had a theory of writing as magic. His books (highly recommended, especially Jurgen) are both funny and mythological ... and it's easy to see how his process of creating characters was really a process of evocation and invocation.

 

James Branch Cabell

 

All these tattered old bits and pieces have a history and a meaning. A group of them together can seem like the traces left by an ionizing particle in a bubble chamber: they draw the line of a path taken by something too mysterious to see. That path is a story, of course. What scientists do when they look at the line of bubbles on the screen is work out the story of the particle that made them: what sort of particle it must have been, and what caused it to move in that way, and how long it was likely to continue.
Dr. Mary Malone would have been familiar with that sort of story in the course of her search for dark matter. But it might not have occurred to her, for example, when she sent a postcard to an old friend shortly after arriving in Oxford for the first time, that that card itself would trace part of a story that hadn't yet happened when she wrote it. Perhaps some particles move backward in time; perhaps the future affects the past in some way we don't understand; or perhaps the universe is simply more aware than we are. There are many things we haven't yet learned how to read.
The story in this book is partly about that very process.

 

Philip Pullman