The challenge for a nonfiction writer is to achieve a poetic precision using the documents of truth but somehow to make people and places spring to life as if the reader was in their presence.
Simon SchamaRead
What can art really do in the face of atrocity?
Interpretation
The quote questions the impact of art when confronted with extreme acts of violence or suffering.
Simon Schama's quote reflects a deep philosophical inquiry about the role of art in society, particularly in the context of human atrocities. It suggests that while art can evoke powerful emotions and provoke thought, its ability to address or mitigate the profound suffering caused by such events is debatable, prompting contemplation of art's limitations and purpose in the face of reality's harshness.
In practice
In a discussion about the role of public art in memorializing tragedies.
The challenge for a nonfiction writer is to achieve a poetic precision using the documents of truth but somehow to make people and places spring to life as if the reader was in their presence.
In its Greek origins, historia meant inquiry, and from Thucydides onwards, the past has been studied to understand its connections with the present.
Jewish history turns out not to be an either/or story - as in, either pure Judaism detached from its surroundings or else assimilation - but rather, for the vast majority, the adventure of living in between.
I understood when I was quite small that there were two special things about the Jews. That we'd endured for over 3,000 years despite everything that had been thrown at us, and that we had an extraordinarily dramatic story to tell.
History is admirably dangerous. It is not the soft option. Teachers need to be grown up and brave. Sensitivity is fine, but it stops at the door of honest narrative.
History gives you insight of the same quality of truth as poetry or philosophy or a novel.
I think there is a new awareness in this 21st century that design is as important to where and how we live as it is for museums, concert halls and civic buildings.
As a director, I design every movie to be true to itself, and damn it if they like it, and damn it if they don't.
I hate straight singing. I have to change a tune to my own way of doing it. That's all I know.
Maybe that's what these films are doing. They are my way of blessing the child
Americans want beauties, not me. I’m not the Parisian bombshell they expected. Can you see me as a chorus girl? Where’s my feather up the ass? They think I’m sad, they’re dumb. I don’t connect to them
The history of my life is the history of the struggle between an overwhelming urge to write and a combination of circumstances bent on keeping me from it.
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