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Jumps and turns aren't hard; artistry is. To create a whole new world for the audience, that's the fantasy of ballet.
--
Rubin, Hanna (January 2005), "On the verge in 2005, DM's 25 to Watch", Dance Magazine 79 (1):40-69

 

Danny Tidwell

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I don't find fantasy to be more or less suited to philosophical questions than any other genre, really. I think that the soul of fantasy—or second-world fantasy at least—is our problematic relationship with nostalgia. The impulse to return to a golden age seems to be pretty close to the bone, at least in western cultures, and I wouldn't be at all surprised if it's a human universal. For me, it's tied up with the experience of aging and the impulse to recapture youth. Epic fantasy, I think, takes its power from that. We create golden eras and either celebrate them or—more often—mourn their loss.

 

Daniel Abraham

 

The objective world is only “material”: it’s there, but it could be there in a great many different forms and aspects...Even here there [are] still possibilities: it can’t be just anything. But perhaps extracting a finite schema from the variety of mythologies, literatures, or religions might contribute something to the understanding of what some of these possibilities could be. The individual can’t create his own world, except in art or fantasy: society can only create a myth of concern. What fun if one could get just a peep at what some of the other worlds are that a new humanity could create–no, live in. (p. 287-8)

 

Northrop Frye

 

The laws which governed the spontaneous jumps of the kangaroos were shown to be of the simplest; out of any number of kangaroos a certain proportion always jumped within a specified time, and nothing seemed to be able to change this number. Also, before the jumps took place, there was nothing in the world of phenomena to distinguish those kangaroos that were about to jump from those that were not... to help fill the quota demanded by the statistical law. As discontinuity marched into the world of phenomena through one door, causality walked out through another.

 

James Jeans

 

All his life he [the American] jumps into the train after it has started and jumps out before it has stopped; and he never once gets left behind, or breaks a leg.

 

George Santayana

 

Non-Masons stay pretty much in the dark about What Goes On, though now and then something jumps out, exposes itself, jumps giggling back again, leaving you with few details but a lot of Awful Suspicions.

 

Thomas Pynchon