Dreams

pp. 153-154

She [Sophie] had always lived her best life in dreams. She knew no greater pleasure than that moment of passage into the other place, when her limbs grew warm and heavy and the sparkling darkness behind her lids became ordered and doors opened; when conscious thought grew owl's wings and talons and became other than conscious.

Starting from the simple pleasure of it, she had become practiced in all its nameless arts. The first thing was to learn to hear the small voice: that fragment of conscious self which like a guardian angel walks with the eidolons of self with which we replace ourselves in Dreamland, the voice that whispers you are dreaming. The trick was to hear it, but not attend to it, or else you wake. She learned to hear it; and it told her that she could not be hurt by dream wounds, no matter how terrible; she woke from them always whole and safe -- most safe because warm in bed. Since then she had feared no bad dreams; the dream Dante of her leaned on the dreaming Virgil and passed through horrors delightful and instructive.

This lyrical description continues (p. 154)

Don't you wish you could dream like that.

Some other comments:

When George Mouse shows up in Part III Crowley writes (p. 147) that he had taken 500 mg. of Pellucidar. Google this.

On p. 159:
One mouse late at night. I don't want to ruin this scene. For the author who is so particular about punctuation AND capitalization, I doubt that he mistakenly made this reference to George Mouse lower case. Especially considering it comes after the section about the Meadow Mouse (c + lc) trying to discover the secret of winter (from p. 129).

Names are obviously important and seem to represent more than just what characters are called.

Ed