Simon Schama

He's a particular hate figure in Caen, because when he heard that Caen had turned against Paris, he said to the convention, "We should send in the sans-culottes with pitchforks, scythes, pikes, guns and sabers and crush them," meaning the people in Caen, "without mercy." So in the streets of Caen, there have been attacks on Marat, circulating pamphlets saying what a dog he is.

So in Simon Schama's book, Citizens, he quotes one example, "Let Marat's head fall and the Republic is saved.

Purge France of this man of blood.

Marat sees the public safety only in a river of blood.

Christopher Hitchens, Niall Ferguson, and many others had expatriated and joined America's vast intellectual industrial complex.

Their verbal facility, forged in private schools and Oxbridge debating societies, frequently invited the suspicion that, as Ernst Gombrich wrote in 2000, of Simon Schama.

For all his mastery of language, the author distrusts the true function of words, that is, to convey meaning.

This British patented no bullshit bullshit proved to be a catastrophic American success.

Christopher Hitchens, Niall Ferguson, and many others had expatriated and joined America's vast intellectual industrial complex.

Their verbal facility, forged in private schools and Oxbridge debating societies, frequently invited the suspicion that, as Ernst Gombrich wrote in 2000 of Simon Schama, for all his mastery of language, the author distrusts the true function of words, that is, to convey meaning.

This British patented no bullshit bullshit proved to be a catastrophic American success, manifest in the claim solemnly pronounced in the New Yorker and the New York Times that Tony Blair was arguing for the war on Iraq more persuasively than Bush and Cheney.

Even then, however, Many in the American ruling class were breaking unpleasantly with Europe.

Hello.

Tonight, Simon Schama on the art that was made about 9/11.

Beth Steel on bringing her hit show, Till the Stars Come Down, home to Nottinghamshire.

And we talk to the foundation giving 1.5 million pounds to promote visual art education around the country from Devon to Cumbria.

And that is what art is for.

Art is for recovering the rawness and integrity of sorrow.

Writer and historian Simon Schama.

Well, now to discuss how Hollywood cinema responded to 9/11 and its aftermath, we're joined from Venice by the film critic and curator Hugo Emmerzal.

It's reproduction three or four or five removes.

It's the memory of the reproduction, the memory of a page in a huge Taschen Van Gogh book or the wonderful illustrations in Simon Schama's book.

That's where the meaning of these artists are, not in the originals.

That's a credible thing to say.

Christopher Hitchens, Niall Ferguson, and many others had expatriated and joined America's vast intellectual industrial complex.

Their verbal facility, forged in private schools and Oxbridge debating societies, frequently invited the suspicion that, as Ernst Gombrich wrote in 2000 of Simon Schama, For all his mastery of language, the author distrusts the true function of words, that is, to convey meaning.

This British-patented no-bullshit bullshit proved to be a catastrophic American success.

manifest in the claim solemnly pronounced in the New Yorker and the New York Times that Tony Blair was arguing for the war on Iraq more persuasively than Bush and Cheney.

I name that rodent Harvey.

Much mother love, Simon." So are you-

Harvey, all right.

We'll, we'll call it Harvey.

Yeah, yeah, sure.

And if we're not number one next week, then I won't be at all surprised.

[laughs] Simon Schama.

Have you seen any of his-- You're not a massive fan of his, are you?

And one week after the Bastille, as we talked about earlier, they would end up killing Berthier and Berthier's father and have that entire sycophantic, disgusting display.

And there's a man named Simon Schama, and he wrote a book entitled Citizens, Chronicle of the French Revolution.

And in it, he has a quote that perfectly, I think, encapsulates the essence of the French Revolution.

He writes, violence was not just an unfortunate side effect, it was the revolution's source of collective energy.