1990 — Dorothy G. Singer & Jerome L. Singer, The House of Make-Believe: Children's Play and the Developing Imagination, Harvard University Press (1992), →ISBN, page 116:
Imaginary playmates and paracosms may chiefly represent the vast creative potential of inherently talented people, but in less elaborated forms, they may also represent what childhood imagination can offer to the growing person. Humanity has already benefited from the paracosmic visions of Plato, Thomas More, Aldous Huxley, Thomas Hobbes, Arthur Tappan Wright (Islandia), and J. R. R. Tolkien.
1991 — Eve. T. H. Brann, The World of the Imagination: Sum and Substance, Rowman & Littlefield (1991), →ISBN, page 310:
A recent study (MacKeith 1982) concludes that paracosmic fantasies are not very common, though almost five dozen detailed replies from adult "exparacosmists" were received.
1991 — David Cohen & Stephen A. MacKeith, The Development of Imagination: The Private Worlds of Childhood, Routledge (1991), →ISBN, page 51:
She is inclined to attribute to her paracosmic imagining the credit for her adult interest in geography and history.
2005 — Delmont C. Morrison & Shirley Linden Morrison, Memories of Loss and Dreams of Perfection: Unsuccessful Childhood Grieving and Adult Creativity, Baywood Publishing (2005), →ISBN, page 20:
These private worlds are always well organized, with the fantasy being maintained and elaborated upon over an extended period of time. Often private, but sometimes shared, the fantasy has emotional meaning to the child similar to that of the transitional object. The paracosmic creation is important to the child and is rewarding.
2008 — David Sobel, Childhood and Nature, Stenhouse Publishers (2008), →ISBN, page 26:
Narnia similarly has its roots in a paracosmic world created by C. S. Lewis and his brother during their childhoods.
