[Dr. McFarland] once invited a well-known sculptor from the faculty of Carnegie Institute of Technology (now Carnegie Mellon University) to come to our nursery school. Dr. McFarland said to him, 'I don't want you to teach sculpting. All I want you to do is to love clay in front of the children.'

And that's what he did. He came once a week for the whole term, sat with the four- and five-year-olds as they played, and he 'loved' his clay in front of them. The adults who have worked at the center for many years have said that not before or since have the children in that school used clay so imaginatively as when they had those visits from the sculptor who obviously delighted in his medium.

"In Pliny I read about the invention of clay modeling. A Sicyonian potter came to Corinth. There his daughter fell in love with a young man who had to make frequent long journeys away from the city. When he sat with her at home, she used to trace the outline of his shadow that a candle’s light cast on the wall. Then, in his absence she worked over the profile, deepening, so that she might enjoy his face, and remember. One day the father slapped some potter’s clay over the gouged plaster; when the clay hardened he removed it, baked it, and "showed it abroad" (63)."

"It is a commonplace among artists and children at play that they're not aware of time or solitude while they're chasing their vision. The hours fly. The sculptress and the tree- climbing tyke both look up blinking when Mom calls, "Suppertime!

Freud's convictions about the importance of infantile developments also colored his view of creative activity. Freud was impressed by the parallels between the child at play, the adult daydreamer, and the creative artist. As he once phrased it:

Might we not say that every child at play behaves like a creative writer, in that he creates a world of his own, or, rather, rearranges the things of his world in a new way which pleases him?....The creative writer does the same as the child at play. He creates a world of phantasy which he takes very seriously-that is, which he invests with large amounts of emotion-while separating it sharply from reality.

"I am like a puppet sitting here. It's not just I; all of us are puppets. Nature is pulling the strings, but we believe we are acting. If you function that way (as puppets), then the problems are simple. But we have superimposed on that (the idea of) a "person" who is pulling those strings."

At home in the nursery, I usually played alone. Actually, I seldom played, I spoke to the wallpaper. The many dark circles in the pattern of the wallpaper seemed like people to me. I made up stories in which they appeared, either I told them the stories or they played with me, I never got tired of the wallpaper people and I could talk to them for hours.

I learned that kids are like actors on a set: They want to know that their director gives a shit, has an actual plan and, just maybe, knows what he’s doing. In other words, they want leadership. And you can’t attempt to lead by being all things to all people or a slave to PC society

There's a great power of imagination about these little creatures, and a creative fancy and belief that is very curious to watch . . . I am sure that horrid matter-of-fact child-rearers . . . do away with the child's most beautiful privilege. I am determined that Anny shall have a very extensive and instructive store of learning in Tom Thumbs, Jack-the-Giant-Killers, etc.

You see a child play, and it is so close to seeing an artist paint, for in play a child says things without uttering a word. You can see how he solves his problems. You can also see what's wrong. Young children, especially, have enormous creativity, and whatever's in them rises to the surface in free play.

So Niels grows up, and all the influences of his childhood work on the plastic clay. Everything helps to shape it; everything is significant, the real and the dreamed, what is known and what is foreshadowed — all add their touch, lightly but surely, to that tracery of lines which is destined to be first hollowed out and deepened and afterwards flattened out and smoothed away.

"In Enlad," said Arren after a while, "we have a story about the boy whose schoolmaster
was a stone:'
"Aye?... What did he learn?"
"Not to ask questions.

As a child in kindergarten I always used to come home from school and tell my mother about the twisted little boy in my class who’d only draw with black crayons and never talked to the other kids. I yakked about this unnamed friend so much that my mother eventually mentioned him to my teacher, who looked confused and then blurted, “But that’s your son!” I was creating characters early for myself and you should let your kids do the same. Having multiple personalities when you’re young is mandatory for a happy childhood.

Why, children,” said Mrs Banks, noticing them suddenly, “what are you doing there? This is your new nurse, Mary Poppins.

He finally decided that children liked dinosaurs because these giant creatures personified the uncontrollable force of looming authority. They were symbolic parents.