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Margaret Thatcher

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'Europe' in anything other than the geographical sense is a wholly artificial construct. It makes no sense at all to lump together Beethoven and Debussy, Voltaire and Burke, Vermeer and Picasso, Notre Dame and St Paul's, boiled beef and bouillabaisse, and portray them as elements of a 'European' musical, philosophical, artistic, architectural or gastronomic reality. If Europe charms us, as it has so often charmed me, it is precisely because of its contrasts and contradictions, not its coherence and continuity.
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pg. 328

 
Margaret Thatcher

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"You have the charisma of a damp rag, and the appearance of a low-grade bank clerk. And the question that I want to ask, [...] that we're all going to ask, is "Who are you ?". I'd never heard of you. Nobody in Europe had ever heard of you. I would like to ask you, President, who voted for you, and what mechanism...oh, I know democracy isn't popular with you lot, and what mechanism the people of Europe have to remove you ? Is this European democracy ? Well, I sense, I sense though that you are competent and capable and dangerous, and I have no doubt in your intention, to be the quiet assassin of European democracy, and of the European nation states. You appear to have a loathing for the very concept of the existence of nation states - perhaps that's because you come from Belgium, which is pretty much a non-country. But since you took over, we've seen Greece reduced to nothing more than a protectorate. Sir, you have no legitimacy in this job at all, and I can say with confidence that I speak on behalf of the majority of British people in saying: we don't know you, we don't want you, and the sooner you're put out to grass, the better."

 
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The times when the centre of gravity of political development and the crystallising agent of capitalist contradictions lay on the European continent, are long gone by. To-day Europe is only a link in the tangled chain of international connections and contradictions.

 
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The historical sense involves a perception, not only of the pastness of the past, but of its presence; the historical sense compels a man to write not merely with his own generation in his bones, but with a feeling that the whole of the literature of Europe from Homer and within it the whole of the literature of his own country has a simultaneous existence and composes a simultaneous order. This historical sense, which is a sense of the timeless as well as of the temporal and of the timeless and of the temporal together, is what makes a writer traditional. And it is at the same time what makes a writer most acutely conscious of his place in time, of his contemporaneity.

 
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