Rewriting History Quotes

The most effective way to destroy people is to deny and obliterate their own understanding of their history.

The world is changed because you are made of ivory and gold. The curves of your lips rewrite history.

Reading a book is like re-writing it for yourself. You bring to a novel, anything you read, all your experience of the world. You bring your history and you read it in your own terms.

History is a set of lies agreed upon.

What you do in this world is a matter of no consequence. The question is what can you make people believe you have done.

You may have to fight a battle more than once to win it.

By its very nature, history is always a one-sided account.

No matter what historians claimed, BC really stood for "Before Coffee.

We’re constantly changing facts, rewriting history to make things easier, to make them fit in with our preferred version of events. We do it automatically. We invent memories. Without thinking. If we tell ourselves something happened often enough we start to believe it, and then we can actually remember it.

The real war will never get in the books.

True, I have raped history, but it has produced some beautiful offspring.

...but I could not sleep without proper covering and spent the rest of the night rewriting lost arguments from my past, altering history so that I emerged victorious.

I will have spent my life trying to understand the function of remembering, which is not the opposite of forgetting, but rather its lining. We do not remember. We rewrite memory much as history is rewritten. How can one remember thirst?

The curves of your lips rewrite history.

The one duty we owe to history is to rewrite it.

That's how it is with legends. The greater they sound, the more must've got left out.

Idealism often rewrites history to suit her narrative.

It's the living that turn and chase the dead. The long bones and skulls are tumbled from their shrouds, and words like stones thrust into their rattling mouths: we edit their writings, we rewrite their lives.

I don’t want to make you forget. I want to make you remember. And I’m about to, Rosie.” He breathed hard against my skin. “I’m about to rewrite the pages of our fucking history, baby.

If you had your time all over again....? She was keen to know. You can't rewrite history. I have no idea what I'd do.

He always says that those who control the present can rewrite the past.

But I can't rewrite history. I can love only with what's left.

He knows different now. It's the living that chase the dead. The long bones and skulls are tumbled from their shrouds, and words like stones thrust into their rattling mouths: we edit their writings, we rewrite their lives. Thomas More had spread the rumor that Little Bilney, chained to the stake, had recanted as the fire was set. It wasn't enough for him to take Bilney's life away; he had to take his death too.

They tell us we must learn to live with less, and teach our children that their lives will be less full and prosperous than ours have been; that the America of the coming years will be a place where — because of our past excesses — it will be impossible to dream and make those dreams come true. I don't believe that. And, I don't believe you do either. That is why I am seeking the presidency. I cannot and will not stand by and see this great country destroy itself. Our leaders attempt to blame their failures on circumstances beyond their control, on false estimates by unknown, unidentifiable experts who rewrite modern history in an attempt to convince us our high standard of living, the result of thrift and hard work, is somehow selfish extravagance which we must renounce as we join in sharing scarcity. I don't agree that our nation must resign itself to inevitable decline, yielding its proud position to other hands. I am totally unwilling to see this country fail in its obligation to itself and to the other free peoples of the world.

The curves of your lips rewrite history

Skye set her glass down. “Don’t you dare rewrite history. What do you think it was like for me? Son after son—and every single one of you preferred my father.

Modernity has become algorithms. Our reality is now intercepted by the exploration and exploitation of our psychic cues that rewrite history by rerouting consumption, elections, public opinion, and civil war.

We will never cease our critique of those persons who distort the past, rewrite it, falsify it, who exaggerate the importance of one event and fail to mention some other; such a critique is proper (it cannot fail to be), but it doesn't count for much unless a more basic critique precedes it: a critique of human memory as such. For after all, what can memory actually do, the poor thing? It is only capable of retaining a paltry little scrap of the past, and no one knows why just this scrap and not some other one, since in each of us the choice occurs mysteriously, outside our will or our interests. We won't understand a thing about human life if we persist in avoiding the most obvious fact: that a reality no longer is what it was when it was; it cannot be reconstructed. Even the most voluminous archives cannot help.

Already liberals are trying to rewrite the history of the Cold War to remove Reagan from its core, to make him a doddering B-movie actor who happened to be standing there when the Soviet Union imploded. They have the media, the universities, the textbooks. We have ourselves. We are the witnesses.

What’s tomorrow look like from over there? Because from here it looks a lot like yesterday, and I can’t rewrite history.

Remember: we all get what we tolerate. So stop tolerating excuses within yourself, limiting beliefs of the past, or half-assed or fearful states. Use your body as a tool to snap yourself into a place of sheer will, determination, and commitment. Face your challenges head on with the core belief that problems are just speed bumps on the road to your dreams. And from that place, when you take massive action—with an effective and proven strategy—you will rewrite your history.

Rewrites history, huh?” Mee-Hae gazes at him. The sparkles in her eyes are those of an archaeologist who is living in a forest near her latest discovered underwater civilization. “The last Ice Age was supposed to be twelve thousand years ago.

(both circumvented the handicap of deafness by answering only those questions they believed had been asked & accepting only those answers they believed had been uttered - a stratagem embraced by many an American advocate)

You are never too old, too small, or too late to live the life you’re meant to lead. Especially if it means rewriting the rules to do it.

If any era should be aware of the temptations to rewrite history, it is our own.

We know of no spectacle more ridiculous—or more contemptible—than that of the religious reactionaries who dare to re-write the history of our republic. Or who try to do so. Is it possible that, in their vanity and stupidity, they suppose that they can erase the name of Thomas Jefferson and replace it with the name of some faith-based mediocrity whose name is already obscure? If so, we cheerfully resolve to mock them, and to give them the lie in their teeth.

…I feel like he’s taking advantage of me. Advantage of my illness. He thinks he can rewrite history in any way that he likes and I will never know, never be any the wiser. But I do know. I know exactly what he’s doing. And so I don’t trust him. In the end he is pushing me away, Dr. Nash. Ruining everything.

Blame someone else, that’s always your first instinct. And if you can’t blame someone else, then start claiming the problem isn’t a problem anyway. Rewrite the rules, shift the goalposts.

It takes one person to rewrite the history book.

If we constantly rewrite history to fit how we see things now, we forget how things used to be and, equally important to future scholars, how we used to see them.

Forgiveness, I’ve learned, is like a door. You can open yourself up to it or close yourself off from it at any time. We can’t rewrite history or change the outcome. Life is a series of choices. And we live in and with those choices we make.

In a sense we re-write our past. We change our narrative. We reprogram ourselves. There is no objective history, this we know, only stories. Our character is the result of this story we tell ourselves about ourselves, and the process of inventorying breaks down the hidden and destructive personal grammar that we have unwittingly allowed to govern our behaviour.

I will never be a brain surgeon, and I will never play the piano like Glenn Gould. But what keeps me up late at night, and constantly gives me reason to fret, is this: I don’t know what I don’t know. There are universes of things out there — ideas, philosophies, songs, subtleties, facts, emotions — that exist but of which I am totally and thoroughly unaware. This makes me very uncomfortable. I find that the only way to find out the fuller extent of what I don’t know is for someone to tell me, teach me or show me, and then open my eyes to this bit of information, knowledge, or life experience that I, sadly, never before considered. Afterward, I find something odd happens. I find what I have just learned is suddenly everywhere: on billboards or in the newspaper or SMACK: Right in front of me, and I can’t help but shake my head and speculate how and why I never saw or knew this particular thing before. And I begin to wonder if I could be any different, smarter, or more interesting had I discovered it when everyone else in the world found out about this particular obvious thing. I have been thinking a lot about these first discoveries and also those chance encounters: those elusive happenstances that often lead to defining moments in our lives. […] I once read that the definition of insanity is doing the same thing over and over and expecting different results. I fundamentally disagree with this idea. I think that doing the same thing over and over and expecting different results is the definition of hope. We might keep making mistakes but the struggle gives us a sense of empathy and connectivity that we would not experience otherwise. I believe this empathy improves our ability to see the unseen and better know the unknown. Lives are shaped by chance encounters and by discovering things that we don’t know that we don’t know. The arc of a life is a circuitous one. … In the grand scheme of things, everything we do is an experiment, the outcome of which is unknown. You never know when a typical life will be anything but, and you won’t know if you are rewriting history, or rewriting the future, until the writing is complete. This, just this, I am comfortable not knowing.

You don’t rewrite it, censor it, or edit it, to suit some warped view you have of the past and your own present.

History is dramatic license, covertly-financed with a sprinkling of gold dust from the newly-enthroned.

There was a little girl Who had a little curl Right in the middle of her forehead. When she was good, she was very, very good. And when she was “bad”, Her Papa loved her anyway.

Old Mother Hubbard Went to the cupboard To get her dear dog a bone. Though the cupboard was bare, When she focused elsewhere Her heart overflowed with fun!

But I can't rewrite history. I can only live with what's left.

We live and die by our stories if we don't rewrite our own history. The past is merely what we make of it, the future ours to create. Rewrite revise, erase.

Don’t be so caught up in the noble cause of responsibility that you lose your passion for who you are living for.

GREAT THINGS sometimes come from rewriting under pressure.

Movements seeking to change the world often begin by rewriting history, thereby enabling people to reimagine the future.

Thus, towards the end of the eighteenth century a change came about which, if I were rewriting history, I should describe more fully and think of greater importance than the Crusades or the Wars of the Roses. The middle-class woman began to write. For if Pride and Prejudice matters, and Middlemarch and Villette and Wuthering Heights matter, then it matters far more than I can prove in an hour’s discourse that women generally, and not merely the lonely aristocrat shut up in her country house among her folios and her flatterers, took to writing.

Who are you not to be great? You, with the imagination of a brilliant child and the powers of an ancient god. Who are you to be ordinary? You, who can resend life or raise the dead. Who are you to be afraid? You, who can serve as judge and jury while hoarding infinite lives. Who are you to be a slave to the past? You who can travel time like the oceans or rewrite history with a single word. Who are you to be anonymous? You whose names should be spoken in reverend tones or terrified whispers. And who are you to deny greatness? If you would deny it to yourself, you deny it to the entire world. And we will not be denied.

There are so many different forms of silence: the silence that tyrannical states force on their citizens, stealing their memories, rewriting their histories, and imposing on them a state-sanctioned identity. Or the silence of witnesses who choose to ignore or not speak the truth, and of victims who at times become complicit in the crimes committed against them. Then there are the silences we indulge in about ourselves, our personal mythologies, the stories we impose upon our real lives.

This is why propaganda networks are so effective in rewriting history: the distribution spread of a lie is so much greater than the fact-check that follows, and by the time the lie is debunked, those who believe it often refuse to change their views, matching social media’s impact on behavior in other parts of the world.26

Feminism can be a friend to science. It not only improves how science is done by pushing researchers to include the female perspective, but science in turn can also show us that we're not as different as we seem. Research to date suggests that humans survived, thrived and spread across the globe through the efforts of everyone equally sharing the same work and responsibilities. For most of our history, we lived hand in hand. And our biology reflects this.

Peter, Peter Pumpkin Eater, Had a wife and couldn't keep her. Of course you cannot keep a wife- Everyone's got to live their life!

Totalitarians never cease trying to rewrite history to their their own liking, but history is a stubborn old bastard that always outlives these feeble fantasies.

I could not sleep without proper covering and instead spent the rest of the night rewriting lost arguments from my past, altering history so that I emerged victorious.

No, I don’t have the slightest desire to rewrite the past or history or whatever. What I’d like to rewrite is the present, here and now.

The Whitney exists as a laboratory for historical ambition, an experiment in rewriting what long ago was rewritten.

Reading a book is like re-writing it for yourself . . . You bring to a novel, anything you read, all your experience of the world. You bring your history and you read it in your own terms.

Studying history aims to loosen the grip of the past. It enables us to turn our head this way and that, and begin to notice possibilities that our ancestors could not imagine, or didn’t want us to imagine. By observing the accidental chain of events that led us here, we realise how our very thoughts and dreams took shape – and we can begin to think and dream differently. Studying history will not tell us what to choose, but at least it gives us more options. Movements seeking to change the world often begin by rewriting history, thereby enabling people to reimagine the future. Whether you want workers to go on a general strike, women to take possession of their bodies, or oppressed minorities to demand political rights – the first step is to retell their history. The new history will explain that ‘our present situation is neither natural nor eternal. Things were different once. Only a string of chance events created the unjust world we know today. If we act wisely, we can change that world, and create a much better one.’ This is why Marxists recount the history of capitalism; why feminists study the formation of patriarchal societies; and why African Americans commemorate the horrors of the slave trade. They aim not to perpetuate the past, but rather to be liberated from it.

For a large chunk of early human history, when humans migrated out of Africa to the rest of the world, women would have traveled hundreds or thousands of miles, sometimes under extreme environmental conditions. If they were pregnant or carrying infants, the daily physical pressures on them would have been far greater than those faced by men. “Just reproducing and surviving in these conditions, talk about natural selection!

I'm a history teacher...within my memory the history textbook has been rewritten three times. I taught children with three different textbooks...Ask us while we're alive. Don't rewrite afterward without us. Ask...

Right now each of us is a private oral culture. We rewrite our pasts to suit our needs and support the story we tell about ourselves. With our memories we are all guilty of a Whig interpretation of our personal histories, seeing our former selves as steps toward our glorious present selves.

You have to look at people now that were members of the Klu Klux Klan or whatever else and now are trying to rewrite their personal histories to tell that they've always been tolerant. It's not peculiar to want to sanitize what you did.

One of the hardest things about my emotional awakening was the way it reshaped so many of my memories. It may sound crazy, but all too often, it turned formerly good memories bad. And there’s no balance. There’s not a single bad memory that’s now turned to good. (Page 211, the first paragraph of the “Rewriting History” chapter)

A play is a blueprint of an event: a way of creating and rewriting history through the medium of literature. Since history is a recorded or remembered event, theatre, for me, is the perfect place to 'make' history--that is, because so much of African-American history has been unrecorded, dismembered, washed out, one of my tasks as a playwright is to--through literature and the special strange relationship between theatre and real-life--locate the ancestral burial ground, dig for bones, find bones, hear the bones sing, write it down.

They shout that they want to shape a better future, but it's not true. The future is only an indifferent void no one cares about,but the past is filled with life, and its countenance is irritating, repellent, wounding, to the point that we want to destroy it or repaint it. We want to be the masters of the future only for the power to change the past. We fight for access to the labs where we can retouch photos and rewrite biographies and history.

Why would you keep quiet and allow history to write itself when there is something you can do to rewrite history.

In the history of science, we have to hunt for the women, not because they weren't capable of doing research, but because for such a large chunk of time they didn't have a chance.

There was an old woman Who lived in a shoe. She had so many children And she still kept her cool.

Being forced to learn the language of your oppressors is an oppression of the mind. They rewrite your history when you're too young to know what you're giving away, and before you know it, it's too late to reclaim what you've lost,' she had said. 'Patois is your island's tongue, Elara. It's your heritage. It is the true expression of your heart. Don't give it away.

You can't go back and change things once they're done. You can't rewrite history. Dwelling on it, wondering what could've been different, wondering how things might be in a perfect world, is a waste of time. Because this world isn't perfect, life isn't perfect, and it never will be.

Time travel. One-man time travel, basically. Pop the strap on your wrist, and off you go. Top security rating of any item here—no one can know we have this, not even our allies.’ ‘Why not?’ ‘Are you serious? Americans with the ability to rewrite history? You’ve seen their news coverage.

science has failed to rid us of the gender stereotypes and dangerous myths we’ve been laboring under for centuries. Women are so grossly underrepresented in modern science because, for most of history, they were treated as intellectual inferiors and deliberately excluded from it. It should come as no surprise, then, that this same scientific establishment has also painted a distorted picture of the female sex. This, in turn again, has skewed how science looks and what it says even now.

I didn't realize. I wasn't trying to rewrite history. You couldn't if you wanted to. It already happened. It don't matter if anyone remembers it or not. He paused. Abbs, you're tryin' to find hope in the past, but the world and its lusts are passing away. Hope belongs to the future. -Abby Wells and Will Laughlin

Humans have the ability to rewrite history. Within a few decades it is not even questioned. Stories of the past become as real as the world you walk through today. Wars are waged over false history. Sins are denied. All for mankind to move forward and feel comfortable about its past. Your true history is written in the stars. Look up, breathe in, and be humbled by the ones who came before you. The ones who have suffered, who have endured, who have overcome. Their blood is alive in you. Their spirits roam freely in the heavens above.

You can’t take away the past; you can only add to the narrative. There is a narrative about Muslims that already exists. I’m not here to undo or rewrite history. That is propaganda or an impossibility. What I, and others, can do is expand on the notion of what it means to be Muslim, continue the story line that survives alongside us.

As John Fowles points out in The Tree (1979), nature is, unlike art, created as “an external object with a history…but also creating in the present, as we experience it. As we watch, it is so to speak rewriting, reformulating, repainting, rephotographing itself.

Quoting someone and rewriting their words makes it a quote from you and not them any longer. To change the meaning of someone's words without permission is offensive enough, to then contact the quoted person and try to justify it to them is even worse. It's verbatim or bust!

Institutions become political weapons, wielded forcefully by those who control them against those who do not. This is how elected autocrats subvert democracy—packing and “weaponizing” the courts and other neutral agencies, buying off the media and the private sector (or bullying them into silence), and rewriting the rules of politics to tilt the playing field against opponents. The tragic paradox of the electoral route to authoritarianism is that democracy’s assassins use the very institutions of democracy—gradually, subtly, and even legally—to kill it.

As a construct, history is too often revised to match contemporary views. It has been said that each generation must rewrite history in order to understand it. The opposite is true. Moderns revise history to make it palatable, not to understand it. Those who edit “history” to popular taste each decade will never understand the past—neither the horrors nor glories of which the human race is equally capable—and for that reason, they will fail to understand themselves.

When telling the story of your life, it is of great value to recognize and focus on the details that reveal or inspire an empowered unfolding of your being. Much like rewriting your own DNA, every aspect of your life and growth will emanate from the building blocks of your history—however you choose to tell it. This is not to suggest that you should deny or bury your mistakes, traumas or misfortunes, but rather, recognize and reveal them within an empowered context of a bigger picture.

In your schoolbooks, you won't find anything about the Land Reform nor about the internal fighting of the Viet Minh. A part of our country's history has been erased, together with the lives of countless people. We're forbidden to talk about events that relate to past mistakes or the wrongdoing of those in power, for they give themselves the right to rewrite history. But you're old enough to know that history will write itself in people's memories, and as long as those memories live on, we can have faith that we can do better.

Two Metro lines, two trains, two carriages, two people walking in parallel streets, two lives, couples criss-crossing without seeing each other, potential encounters, meetings which shall never take place. The imagination rewrites history. It modifies the local directory and the roll-call of those who frequent a town, a street, a house, a woman. It transfixes reflections in the mirror for all eternity. It hangs entire portrait galleries from the wall of our future memory on which magnificent strangers use a sharp knife to engrave their initials and a date.

The letters between Pliny and Trajan amount to one of the most loquacious non-Christian discussions of the new religion to survive. The Christian texts of the third, fourth and fifth centuries CE are some of the most extreme examples ever of the rewriting of history to fit the agenda of the winners. They construct a triumphalist history of Christianity as victorious both against its pagan rivals, despite cruel persecution by the Roman state, and against all the internal variants (‘heresies’, as later Christians defined them), which challenged what came to be Christian orthodoxy.

The temporary alliance between the elite and the mob rested largely on this genuine delight with which the former watched the latter destroy respectability. This could be achieved when the German steel barons were forced to deal with and to receive socially Hitler's the housepainter and self-admitted former derelict, as it could be with the crude and vulgar forgeries perpetrated by the totalitarian movements in all fields of intellectual life, insofar as they gathered all the subterranean, nonrespectable elements of European history into one consistent picture. From this viewpoint it was rather gratifying to see that Bolshevism and Nazism began even to eliminate those sources of their own ideologies which had already won some recognition in academic or other official quarters. Not Marx's dialectical materialism, but the conspiracy of 300 families; not the pompous scientificality of Gobineau and Chamberlain, but the "Protocols of the Elders of Zion"; not the traceable influence of the Catholic Church and the role played by anti-clericalism in Latin countries, but the backstairs literature about the Jesuits and the Freemasons became the inspiration for the rewriters of history. The object of the most varied and variable constructions was always to reveal history as a joke, to demonstrate a sphere of secret influences of which the visible, traceable, and known historical reality was only the outward façade erected explicitly to fool the people. To this aversion of the intellectual elite for official historiography, to its conviction that history, which was a forgery anyway, might as well be the playground of crackpots, must be added the terrible, demoralizing fascination in the possibility that gigantic lies and monstrous falsehoods can eventually be established as unquestioned facts, that man may be free to change his own past at will, and that the difference between truth and falsehood may cease to be objective and become a mere matter of power and cleverness, of pressure and infinite repetition. Not Stalin’s and Hitler's skill in the art of lying but the fact that they were able to organize the masses into a collective unit to back up their lies with impressive magnificence, exerted the fascination. Simple forgeries from the viewpoint of scholarship appeared to receive the sanction of history itself when the whole marching reality of the movements stood behind them and pretended to draw from them the necessary inspiration for action.

The military officers who led the coup concluded that, once in power, not only did they have to reverse the gains that had been made under elected governments, but they also wanted to find a way to ensure that Chileans never again embraced socialism, no matter how strong the popular cries for reform.3 The solution they came up with was to rewrite the nation’s constitution to forever insulate the interests of the propertied class they represented from the reach of a classic democratic majority.

The experiment changed Sally’s life. In the following days she realised she has been through a ‘near-spiritual experience…what defined the experience was not feeling smarter or learning faster: the thing that made the earth drop out from under my feet was that for the first time in my life, everything in my head finally shut up…My brain without self-doubt was a revelation. There was suddenly this incredible silence in my head…I hope you can sympathise with me when I tell you that the thing I wanted most acutely for the weeks following my experience was to go back and strap on those electrodes. I also started to have a lot of questions. Who was I apart from the angry bitter gnomes that populate my mind and drive me to failure because I’m too scared to try? And where did those voices come from?’7 Some of those voices repeat society’s prejudices, some echo our personal history, and some articulate our genetic legacy. All of them together, says Sally, create an invisible story that shapes our conscious decisions in ways we seldom grasp. What would happen if we could rewrite our inner monologues, or even silence them completely on occasion? 8

We don't normally think of it as such, but writing is a technology, which means that a literate person is someone whose thought processes are technologically mediated. We became cognitive cyborgs as soon as we became fluent readers, and the consequences of that were profound. Before a culture adopts the use of writing, when its knowledge is transmitted exclusively through oral means, it can very easily revise its history. It's not intentional, but it is inevitable; throughout the world, bards and griots have adapted their material to their audiences and thus gradually adjusted the past to suit the needs of the present. The idea that accounts of the past shouldn't change is a product of literate cultures' reverence for the written word. Anthropologists will tell you that oral cultures understand the past differently; for them, their histories don't need to be accurate so much as they need to validate the community's understanding of itself. So it wouldn't be correct to say that their histories are unreliable; their histories do what they need to do. Right now each of us is a private oral culture. We rewrite our pasts to suit our needs and support the story we tell about ourselves. With our memories we are all guilty of a Whig interpretation of our personal histories, seeing our former selves as steps toward our glorious present selves.

Faced with an ecological crisis whose roots lie in this disengagement, in the separation of human agency and social responsibility from the sphere of our direct involvement with the non-human environment, it surely behoves us to reverse this order of priority. I began with the point that while both humans and animals have histories of their mutual relations, only humans narrate such histories. But to construct a narrative, one must already dwell in the world and, in the dwelling, enter into relationships with its constituents, both human and non-human. I am suggesting that we rewrite the history of human-animal relations, taking this condition of active engagement, of being-in-the-world, as our starting point. We might speak of it as a history of human concern with animals, insofar as this notion conveys a caring, attentive regard, a 'being with'. And I am suggesting that those of us who are 'with' animals in their day-to-day lives, most notably hunters and herdsmen, can offer us some of the best possible indications of how we might proceed.

Henry Fielding, a highly successful satiric dramatist until the introduction of censorship in 1737, began his novel-writing career with Shamela, a pastiche of Pamela, which humorously attacked the hypocritical morality which that novel displayed. Joseph Andrews (1742) was also intended as a kind of parody of Richardson; but Fielding found that his novels were taking on a moral life of their own, and he developed his own highly personal narrative style - humorous and ironic, with an omniscient narrative presence controlling the lives and destinies of his characters. Fielding focuses more on male characters and manners than Richardson. In doing so, he creates a new kind of hero in his novels. Joseph Andrews is chaste, while Tom Jones in Tom Jones (1749) is quite the opposite. Tom is the model of the young foundling enjoying his freedom (to travel, to have relationships with women, to enjoy sensual experience) until his true origins are discovered. When he matures, he assumes his social responsibilities and marries the woman he has 'always' loved, who has, of course, like a mediaeval crusader's beloved, been waiting faithfully for him. Both of these heroes are types, representatives of their sex. There is a picaresque journey from innocence to experience, from freedom to responsibility. It is a rewriting of male roles to suit the society of the time. The hero no longer makes a crusade to the Holy Land, but the crusade is a personal one, with chivalry learned on the way, and adventure replacing self-sacrifice and battle.

Perhaps vaguely aware that his movie so completely lacks gravitas, Moore concludes with a sonorous reading of some words from George Orwell. The words are taken from 1984 and consist of a third-person analysis of a hypothetical, endless and contrived war between three superpowers. The clear intention, as clumsily excerpted like this (...), is to suggest that there is no moral distinction between the United States, the Taliban and the Ba'ath Party, and that the war against jihad is about nothing. If Moore had studied a bit more, or at all, he could have read Orwell really saying, and in his own voice, the following: The majority of pacifists either belong to obscure religious sects or are simply humanitarians who object to taking life and prefer not to follow their thoughts beyond that point. But there is a minority of intellectual pacifists, whose real though unacknowledged motive appears to be hatred of western democracy and admiration for totalitarianism. Pacifist propaganda usually boils down to saying that one side is as bad as the other, but if one looks closely at the writing of the younger intellectual pacifists, one finds that they do not by any means express impartial disapproval but are directed almost entirely against Britain and the United States… And that's just from Orwell's Notes on Nationalism in May 1945. A short word of advice: In general, it's highly unwise to quote Orwell if you are already way out of your depth on the question of moral equivalence. It's also incautious to remind people of Orwell if you are engaged in a sophomoric celluloid rewriting of recent history.

What Kant took to be the necessary schemata of reality,' says a modern Freudian, 'are really only the necessary schemata of repression.' And an experimental psychologist adds that 'a sense of time can only exist where there is submission to reality.' To see everything as out of mere succession is to behave like a man drugged or insane. Literature and history, as we know them, are not like that; they must submit, be repressed. It is characteristic of the stage we are now at, I think, that the question of how far this submission ought to go--or, to put it the other way, how far one may cultivate fictional patterns or paradigms--is one which is debated, under various forms, by existentialist philosophers, by novelists and anti-novelists, by all who condemn the myths of historiography. It is a debate of fundamental interest, I think, and I shall discuss it in my fifth talk. Certainly, it seems, there must, even when we have achieved a modern degree of clerical scepticism, be some submission to the fictive patterns. For one thing, a systematic submission of this kind is almost another way of describing what we call 'form.' 'An inter-connexion of parts all mutually implied'; a duration (rather than a space) organizing the moment in terms of the end, giving meaning to the interval between tick and tock because we humanly do not want it to be an indeterminate interval between the tick of birth and the tock of death. That is a way of speaking in temporal terms of literary form. One thinks again of the Bible: of a beginning and an end (denied by the physicist Aristotle to the world) but humanly acceptable (and allowed by him to plots). Revelation, which epitomizes the Bible, puts our fate into a book, and calls it the book of life, which is the holy city. Revelation answers the command, 'write the things which thou hast seen, and the things which are, and the things which shall be hereafter'--'what is past and passing and to come'--and the command to make these things interdependent. Our novels do likewise. Biology and cultural adaptation require it; the End is a fact of life and a fact of the imagination, working out from the middle, the human crisis. As the theologians say, we 'live from the End,' even if the world should be endless. We need ends and kairoi and the pleroma, even now when the history of the world has so terribly and so untidily expanded its endless successiveness. We re-create the horizons we have abolished, the structures that have collapsed; and we do so in terms of the old patterns, adapting them to our new worlds. Ends, for example, become a matter of images, figures for what does not exist except humanly. Our stories must recognize mere successiveness but not be merely successive; Ulysses, for example, may be said to unite the irreducible chronos of Dublin with the irreducible kairoi of Homer. In the middest, we look for a fullness of time, for beginning, middle, and end in concord. For concord or consonance really is the root of the matter, even in a world which thinks it can only be a fiction. The theologians revive typology, and are followed by the literary critics. We seek to repeat the performance of the New Testament, a book which rewrites and requites another book and achieves harmony with it rather than questioning its truth. One of the seminal remarks of modern literary thought was Eliot's observation that in the timeless order of literature this process is continued. Thus we secularize the principle which recurs from the New Testament through Alexandrian allegory and Renaissance Neo-Platonism to our own time. We achieve our secular concords of past and present and future, modifying the past and allowing for the future without falsifying our own moment of crisis. We need, and provide, fictions of concord.

It is already the fashion to diminish Eliot by calling him derivative, the mouthpiece of Pound, and so forth; and yet if one wanted to understand the apocalypse of early modernism in its true complexity it would be Eliot, I fancy, who would demand one's closest attention. He was ready to rewrite the history of all that interested him in order to have past and present conform; he was a poet of apocalypse, of the last days and the renovation, the destruction of the earthly city as a chastisement of human presumption, but also of empire. Tradition, a word we especially associate with this modernist, is for him the continuity of imperial deposits; hence the importance in his thought of Virgil and Dante. He saw his age as a long transition through which the elect must live, redeeming the time. He had his demonic host, too; the word 'Jew' remained in lower case through all the editions of the poems until the last of his lifetime, the seventy-fifth birthday edition of 1963. He had a persistent nostalgia for closed, immobile hierarchical societies. If tradition is, as he said in After Strange Gods--though the work was suppressed--'the habitual actions, habits and customs' which represent the kinship 'of the same people living in the same place' it is clear that Jews do not have it, but also that practically nobody now does. It is a fiction, a fiction cousin to a myth which had its effect in more practical politics. In extenuation it might be said that these writers felt, as Sartre felt later, that in a choice between Terror and Slavery one chooses Terror, 'not for its own sake, but because, in this era of flux, it upholds the exigencies proper to the aesthetics of Art.' The fictions of modernist literature were revolutionary, new, though affirming a relation of complementarity with the past. These fictions were, I think it is clear, related to others, which helped to shape the disastrous history of our time. Fictions, notably the fiction of apocalypse, turn easily into myths; people will live by that which was designed only to know by. Lawrence would be the writer to discuss here, if there were time; apocalypse works in Woman in Love, and perhaps even in Lady Chatterley's Lover, but not n Apocalypse, which is failed myth. It is hard to restore the fictive status of what has become mythical; that, I take it, is what Mr. Saul Bellow is talking about in his assaults on wastelandism, the cant of alienation. In speaking of the great men of early modernism we have to make very subtle distinctions between the work itself, in which the fictions are properly employed, and obiter dicta in which they are not, being either myths or dangerous pragmatic assertions. When the fictions are thus transformed there is not only danger but a leak, as it were, of reality; and what we feel about. all these men at times is perhaps that they retreated inso some paradigm, into a timeless and unreal vacuum from which all reality had been pumped. Joyce, who was a realist, was admired by Eliot because he modernized myth, and attacked by Lewis because he concerned himself with mess, the disorders of common perception. But Ulysses ,alone of these great works studies and develops the tension between paradigm and reality, asserts the resistance of fact to fiction, human freedom and unpredictability against plot. Joyce chooses a Day; it is a crisis ironically treated. The day is full of randomness. There are coincidences, meetings that have point, and coincidences which do not. We might ask whether one of the merits of the book is not its lack of mythologizing; compare Joyce on coincidence with the Jungians and their solemn concordmyth, the Principle of Synchronicity. From Joyce you cannot even extract a myth of Negative Concord; he shows us fiction fitting where it touches. And Joyce, who probably knew more about it than any of the others, was not at tracted by the intellectual opportunities or the formal elegance of fascism.

Marx was troubled by the question of why ancient Greek art retained an ‘eternal charm’, even though the social conditions which produced it had long passed; but how do we know that it will remain ‘eternally’ charming, since history has not yet ended? Let us imagine that by dint of some deft archaeological research we discovered a great deal more about what ancient Greek tragedy actually meant to its original audiences, recognized that these concerns were utterly remote from our own, and began to read the plays again in the light of this deepened knowledge. One result might be that we stopped enjoying them. We might come to see that we had enjoyed them previously because we were unwittingly reading them in the light of our own preoccupations; once this became less possible, the drama might cease to speak at all significantly to us. The fact that we always interpret literary works to some extent in the light of our own concerns - indeed that in one sense of ‘our own concerns’ we are incapable of doing anything else - might be one reason why certain works of literature seem to retain their value across the centuries. It may be, of course, that we still share many preoccupations with the work itself; but it may also be that people have not actually been valuing the ‘same’ work at all, even though they may think they have. ‘Our’ Homer is not identical with the Homer of the Middle Ages, nor ‘our’ Shakespeare with that of his contemporaries; it is rather that different historical periods have constructed a ‘different’ Homer and Shakespeare for their own purposes, and found in these texts elements to value or devalue, though not necessarily the same ones. All literary works, in other words, are ‘rewritten’, if only unconsciously, by the societies which read them; indeed there is no reading of a work which is not also a ‘re-writing’. No work, and no current evaluation of it, can simply be extended to new groups of people without being changed, perhaps almost unrecognizably, in the process; and this is one reason why what counts as literature is a notably unstable affair.

The government has a great need to restore its credibility, to make people forget its history and rewrite it. The intelligentsia have to a remarkable degree undertaken this task. It is also necessary to establish the "lessons" that have to be drawn from the war, to ensure that these are conceived on the narrowest grounds, in terms of such socially neutral categories as "stupidity" or "error" or "ignorance" or perhaps "cost." Why? Because soon it will be necessary to justify other confrontations, perhaps other U.S. interventions in the world, other Vietnams. But this time, these will have to be successful intervention, which don't slip out of control. Chile, for example. It is even possible for the press to criticize successful interventions - the Dominican Republic, Chile, etc. - as long as these criticisms don't exceed "civilized limits," that is to say, as long as they don't serve to arouse popular movements capable of hindering these enterprises, and are not accompanied by any rational analysis of the motives of U.S. imperialism, something which is complete anathema, intolerable to liberal ideology. How is the liberal press proceeding with regard to Vietnam, that sector which supported the "doves"? By stressing the "stupidity" of the U.S. intervention; that's a politically neutral term. It would have been sufficient to find an "intelligent" policy. The war was thus a tragic error in which good intentions were transmuted into bad policies, because of a generation of incompetent and arrogant officials. The war's savagery is also denounced, but that too, is used as a neutral category...Presumably the goals were legitimate - it would have been all right to do the same thing, but more humanely... The "responsible" doves were opposed to the war - on a pragmatic basis. Now it is necessary to reconstruct the system of beliefs according to which the United States is the benefactor of humanity, historically committed to freedom, self-determination, and human rights. With regard to this doctrine, the "responsible" doves share the same presuppositions as the hawks. They do not question the right of the United States to intervene in other countries. Their criticism is actually very convenient for the state, which is quite willing to be chided for its errors, as long as the fundamental right of forceful intervention is not brought into question. ... The resources of imperialist ideology are quite vast. It tolerates - indeed, encourages - a variety of forms of opposition, such as those I have just illustrated. It is permissible to criticize the lapses of the intellectuals and of government advisers, and even to accuse them of an abstract desire for "domination," again a socially neutral category not linked in any way to concrete social and economic structures. But to relate that abstract "desire for domination" to the employment of force by the United States government in order to preserve a certain system of world order, specifically, to ensure that the countries of the world remain open insofar as possible to exploitation by U.S.-based corporations - that is extremely impolite, that is to argue in an unacceptable way.