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If the making of the series had one repeated phrase that still echoes in my head, it was not heard on the soundtrack; the inexorable voice of Lorna Pegram, the producer, muttering: "It's a clever argument, Bob dear, but what are we supposed to be looking at?"

 

Robert Hughes

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I heard the soundtrack to The Celts TV programme, which Enya had done, and I thought "what's this magical music?", and it was such an antidote to the, sort of, the day's work, that every night I went home and played the soundtrack from The Celts. And then I met her in Ireland and she was telling me how she was signing to another record company, I went "no, no, no, no, you can't do this, you must sign with us." And I did it really just as a self-indulgence, that I thought this was beautiful music and wanted to be associated with it, there wasn't really a kind of commercial edge to it at all.

 

Enya

 

"Pray, my dear," quoth my mother, "have you not forgot to wind up the clock?" — "Good G—!" cried my father, making an exclamation, but taking care to moderate his voice at the same time, — "Did ever woman, since the creation of the world, interrupt a man with such a silly question?"

 

Laurence Sterne

 

So the question is: "How to win?" That's when I began to develop what you now see full-fledged in the "wedge" strategy: "Stick with the most important thing" — the mechanism and the building up of information. Get the Bible and the Book of Genesis out of the debate because you do not want to raise the so-called Bible-science dichotomy. Phrase the argument in such a way that you can get it heard in the secular academy and in a way that tends to unify the religious dissenters. That means concentrating on, "Do you need a Creator to do the creating, or can nature do it on its own?" and refusing to get sidetracked onto other issues, which people are always trying to do.

 

Phillip E. Johnson

 

Why can't she say extremist Muslims rather than just Muslims? "If that'll make you happy. They slaughtered 3,000 people and I'm making unfair generalisations. I think we're even." Well, no, I don't think we're even, I begin to reply — and at this point I see a side of Ann Coulter that goes beyond the ludicrous opinions. I see someone who is not afraid to twist, distort, bully and lie in order to "win" her argument.
Before I can elaborate or finish my sentence, she's off again. "Oh no, you're right, a generalisation is so much worse than slaughtering 3,000 people." I'm not saying that, I say. "I can't go beyond that, an ethnic generalisation is worse than slaughter. That is the essence of liberalism, you really do believe that. You get a glass of wine in you and you spit it out. You heard it. Making an un-PC generalisation is worse than the attack of 9/11." I'm not saying that, I repeat. "Yes, you are, you just said it." Of course I don't think that, I start, before I'm cut off again. "Liar!"
The irony is that she claims to be above this kind of steamrolling. "The country is trapped in a political discourse that resembles professional wrestling," she has written. "Liberals are calling names while conservatives are trying to make arguments." But her view of what constitutes an argument seems to be a distinctly one-sided affair. I try again: "Do you think I have any point at all about..." I begin, but she interrupts again. "No!" She doesn't even know what my point was.

 

Ann Coulter

 

I was walking barefoot on St. Paul's bridge
When I saw a man talking to God
He was round and handsome
Anachronistically
A little odd
I overheard his conversation
He said, "I can't live in a world devoid of love."
And the voice, the voice was so familiar
It was the voice of Peter Ustinov
"Peter," I whispered from the shadows
"We've all been damaged by the 20th century
A man like you can talk to God
But can you spare a word for me?
For I have loved you since the time
I saw you in The Mouse that Roared."
"That was Peter Sellers, my dear.
Go away," he implored.

 

Peter Ustinov