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Read through the most famous quotes by topic #europe
I was there less than a year before I was assigned to the Paris bureau. I spent two years there and, in fact, before I even went on the staff I was sent to Europe to do assignments which they wouldn't normally do for a young photographer just starting out. ↗
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It's true that the war in Iraq opened a distance in relations between part of Europe and the U.S. government, but our basic ties are stronger than that. We share democracy, free markets and a commitment to Western security. We differ on how to guarantee that security. ↗
Should I, too, prefer the title of 'non-Jewish Jew'? For some time, I would have identified myself strongly with the attitude expressed by Rosa Luxemburg, writing from prison in 1917 to her anguished friend Mathilde Wurm: What do you want with these special Jewish pains? I feel as close to the wretched victims of the rubber plantations in Putamayo and the blacks of Africa with whose bodies the Europeans play ball… I have no special corner in my heart for the ghetto: I am at home in the entire world, where there are clouds and birds and human tears. An inordinate proportion of the Marxists I have known would probably have formulated their own views in much the same way. It was almost a point of honor not to engage in 'thinking with the blood,' to borrow a notable phrase from D.H. Lawrence, and to immerse Jewishness in other and wider struggles. Indeed, the old canard about 'rootless cosmopolitanism' finds a perverse sort of endorsement in Jewish internationalism: the more emphatically somebody stresses that sort of rhetoric about the suffering of others, the more likely I would be to assume that the speaker was a Jew. Does this mean that I think there are Jewish 'characteristics'? Yes, I think it must mean that. ↗
All European writers are ‘slaves of their baptism,’ if I may paraphrase Rimbaud; like it or not, their writing carries baggage from an immense and almost frightening tradition; they accept that tradition or they fight against it, it inhabits them, it is their familiar and their succubus. Why write, if everything has, in a way, already been said? Gide observed sardonically that since nobody listened, everything has to be said again, yet a suspicion of guilt and superfluity leads the European intellectual to the most extreme refinements of his trade and tools, the only way to avoid paths too much traveled. Thus the enthusiasm that greets novelties, the uproar when a writer has succeeded in giving substance to a new slice of the invisible; merely recall symbolism, surrealism, the ‘nouveau roman’: finally something truly new that neither Ronsard, nor Stendahl , nor Proust imagined. For a moment we can put aside our guilt; even the epigones begin too believe they are doing something new. Afterwards, slowly, they begin to feel European again and each writer still has his albatross around his neck. ↗
