Simon Schama quotes:

In Mesopotamia or Egypt, for example, the monarch had a god-like religious status. But this is not the case in Judaism. So that notion that religion can go on, when all the markers of power and trappings of monarchy disappear, ultimately serves the endurance of Judaism very well.

You are not thinking hard enough if you are sleeping well. And you would have to be unhinged to take on a subject like the French Revolution, or Rembrandt, and not feel some trepidation. There is always the possibility that you will crash and burn, and the whole thing will be a horrible, vulgar, self-indulgent mess.

The difficulty with poetry is that it doesn't have the life that Shakespeare or Jane Austen have beyond the page. You can't make a costume drama out of it. There's no place for it to go except trapped inside its little book.

Growing up in Britain as a rather loose Jew, the two things that didn't belong together were freedom and religious intensity. In America, they do. The Founding Fathers made a bet that if you didn't force everyone to profess religion in their own particular way, you could protect intellectual freedom, and religion would flourish.

The British who arrived in the United States in the eighteen-thirties and forties had imagined the young republic as a wide-eyed adolescent, socially ungainly and politically gauche, but with some hint of promise.

The Jews invented a portable religion in the shape of the Bible, the Torah, and eventually the Talmud, and with other portable forms of writing. So it's now possible to carry the religion, that is embedded in that writing, away from the ruins of political and military power.

St. Paul was making it impossible to be Jewish and Christian at the same time. What is very striking about those early churches and communities is that you could be both. Under Paul, though, you absolutely couldn't.

The history of the Jews has been written overwhelmingly by scholars of texts - understandably given the formative nature of the Bible and the Talmud. Seeing Jewish history through artifacts, architecture and images is still a young but spectacularly flourishing discipline that's changing the whole story.

Jewish history has been in my cultural DNA since I was a child growing up in post-war London. In the midst of that dark, gray, lamenting monochromatic world of the '50s, I had a sense that both Jewish and English history were full of color and light and animation.

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.

If someone asks me to go to speak at, say, Princeton, I might or might not go. But if someone asks me from Norman, Oklahoma, I certainly will go.

It was the Sephardi Jews who brought fish and chips to Britain, actually, believe it or not, from the Mediterranean world. Apart from actually eating and selling fish and chips, they were kind of debt enforcers.

The older I get, the more I want to do. It beats death, decay or golf in unfortunate trousers. Peace and quiet depress me.

It's not right to think about all of Jewish-German history as shrouded by the smoke of the crematorium.

History gives you insight of the same quality of truth as poetry or philosophy or a novel.

I wrote a staggeringly bad poem when I was 19 after a girlfriend dumped me. I seem to remember comparing her to a tarantula. It was all very E. J. Thribb of me.

The synagogues of late antiquity and the early medieval period were built around imagery: imagery of remembering the Temple, but also of the celestial zodiac, too.

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.

I did an audiobook for 'Rough Crossings,' which I thought was one of the best books I had published. But it was an absolute embarrassment to read it. All these horrible mucked-up bits of syntax, over-the-top adjectives. I found myself editing it while reading. Alert listeners will notice the difference.

The Bible, for all its riches, is not a document of social history.

Jewish comedy doesn't come out of nothing. Jewish music doesn't come out of nothing... I don't want to be part of a story where Jews are just victims or bullies - and I'm not saying that's what the Israelis are.

I was conscious of being wordy as a child. I was a terrible talker. I memorised the Latin names of flowers at five; I was shown off as a freak. My father encouraged me to be wordier than I was: he'd been a street orator at the time of Mosley, and his ideal primary concert speech was Henry V's speech before Harfleur.

I actually think that history has fed off the restlessness of cyber space, of kind of the frantic, segmented nature of the way we lead our lives. People want to be connected.

I am not very relaxed about bad reviews. But I am resilient. I grieve, curse and swear, put on loud music, and get on with the next job.

I find it very hard to write about Jewish history.

Jews can live their own life as Jews and yet be part of a different country.

The Elephantine papyri - written as some of the books of the Bible are being written - is true social and legal documentation, and to historians overwhelmingly powerful and moving, even when ostensibly about trivial things.

I have this magpie instinct for the next glittering object. There are one or two things I know I can't write about, though: DIY, cricket, automobile repair. I could study it for a lifetime and not produce a word on the carburettor.

The default mode of modern writing about art is to despise any notion of singularity as so much overheated genius-fetishism.

I would want the British reader to feel that religion in America isn't an absurd thing - a sign of a pin head athwart a gigantic body.

A generation without history is a generation that not only loses a nation's memory but loses a sense of what it's like to be inside a human skin.

In the early nineteenth century, with Enlightenment optimism soured by years of war and revolution, critics were skeptical of America's naive faith that it had reinvented politics.

The most gloomy prognosis about Jewish life is that it will disappear between the two extremes of ultra-Orthodoxy on the one hand and total assimilation on the other. But those are very exaggerated scenarios.

Charlie Hebdo: Satire was the father of true political freedom, born in the 18th century; the scourge of bigots and tyrants. Sing its praises.

The irony about Charles II is not that he came to the throne because England needed a successor to Charles I, but because England needed a successor to Oliver Cromwell.

Almost everywhere else in Europe, the more military the state, the stronger the king - except in Britain. Here it was parliament, not the monarchy, who signed the cheques. The longer the war went on, the stronger parliament became, as the purse on which it sat grew bigger and bigger.

The way history is currently taught in schools, jumping from Hitler to the Henrys, is like a nightmare vision of Star Wars, where you have episode four before you have episode one. The sense of going on a journey of chronology and continuity, is incredibly important to the imagination.

Historians are left forever chasing shadows, painfully aware of their inability ever to reconstruct a dead world in its completeness however thorough or revealing their documentation. We are doomed to be forever hailing someone who has just gone around the corner and out of earshot.

Great art has dreadful manners. The greatest paintings grab you in a headlock, rough up your composure, and then proceed in short order to re-arrange your reality.

DIY, cricket, automobile repair. I could study it for a lifetime and not produce a word on the carburettor.

I'm helplessly and permanently a Red Sox fan. It was like first love...You never forget. It's special. It's the first time I saw a ballpark. I'd thought nothing would ever replace cricket. Wow! Fenway Park at 7 o'clock in the evening. Oh, just, magic beyond magic: never got over that

We seem wired to grieve with greenery. Allowing the dead to dissolve into the earth, to become part of the cycle of the seasons, has, for millennia, held the promise of cheating mortality.

To collude in the minimisation of British history on the grounds of its imagined irrelevance to our rebranded national future, or from a suspicion that it does no more than recycle patriotic pieties unsuited to a global marketplace, would be an act of appallingly self-inflicted collective memory loss.

In America, much foreign policy seems contrived to be an exercise in political theory with no attention to history whatsoever. Yet there's a great reverence for history - though it's history as thumb-sucking, security blanket-nibbling self-congratulation.

The great theme of modern British history is the fate of freedom. The 18th century inherits, after the Civil War, this very peculiar political animal. It's not a democracy, but it's not a tyranny. It's not like the rest of the world, the rest of Europe. There is a parliament, laws have to be made, elections are made.

Even for the most excitable preacher, there was nothing inherently sinful about a waffle.

Histories never conclude; they just pause their prose. Their stories are, if they are truthful, untidy affairs, resistant to windings-up and sortings-out. They beat raggedly on into the future....

These men were very much in the minority, but of course, being the 'Elect', they expected to be in a minority - the party of redemption. In fact they glorified in the slightness of their numbers, the self-purifying troop of Gideon's army... stormtroopers in the front line of the Reformation.

As a schoolboy, poetry seemed defined by preciousness. It was all very rarefied.

But it struck me that the extreme violence and cruelty of the English Civil War had gone understated.

Nations don't start out. There is not a particular moment when they unveil the essence of themselves. They are always a work in progress.

The notion that religion can actually be something... attached to progressivism seems so bizarre. But all you have to say is that Abolition wouldn't have happened without it. The way in which African Americans managed to achieve a degree of self-determination was through the church.

I am strongly of the opinion that chronology is very important. The great arc of time is what children are wired for.

It takes a perverse determination to drain that instinctive curiosity away and make history seem just remote, dead and disconnected from our contemporary reality. Conversely, it just takes skilful storytelling to recharge that connection to make the past come alive in our present.

Sculptures created from found materials like ice and thorns, driftwood, and even bleached kangaroo bones all presuppose that artistic design will yield to the cycles of time and climate, whether over an hour or a decade.

My mother was an awful cook, an exceptionally awful kosher cook, but I stayed kosher until I got to college, even though I'd long stopped believing in God.

Somehow, the words don't have any vitality, any life to them, unless I can feel it marking on a paper. That's how I start. Once I'm off, then I switch to the laptop. I think it would all just be prose if it started on a laptop - not that what I do is poetry.

By the end of the nineteenth century, the stereotype of the ugly American - voracious, preachy, mercenary, and bombastically chauvinist - was firmly in place in Europe.

I felt New York was a big, more stylish, more metropolitan Golders Green. I was thrilled.

Never crowd a pan with too many mushrooms. They give off an enormous amount of moisture. And there's nothing worse than a braised mushroom, other than a lot of braised mushrooms.

The Jewish story is the story of wandering. It is the story of extraordinary heterogeneous complication.

At 11, 12, I thought I was clumsy, ugly, a mess, an unappealing person, but I did have the gift of the gab. I had the school record at Haberdashers for consecutive detentions for simply speaking out of turn.

I used to have a monthly cookery column, and am a big cook, so that whole sense of connecting what one does with food to one's cultural identity has always been fascinating to me.

I am somebody who has never been able to give up '60s habits. I am the inevitable old codger on the dance floor.

From the very beginning, history wasn't content simply to be nostalgic fairytales; it wanted to make you think.

The novelist's obligation to remake the sensuous texture of a vanished world is also the historian's. The strongest fiction writers often do deep research to make the thought and utterances of lost time credible.

In the Einstein way, I can't believe in a universe that doesn't have some sort of prime mover, identical with all of created nature. I have a whole lot of a harder time with supposing the fine print of the Torah was a direct revelation.

America is truly special because it's founded on an idea. It's the ideological and philosophical equivalent of a formless God, in other words, you know? It's, again, the only great country in the world that it is formed out of words.

Anyone can write an academic piece directed at other academics. To write something that delivers an argument and a gripping storyline to someone's granny or eight-year-old takes the highest quality of your powers.

Passover takes place in the home rather than the synagogue and centers around an epic meal - the seder - so you remember Passover as storytelling, you remember it in food, and you remember it in the family.

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.

Charles was constitutionally incapable of being a constitutional monarch.

From 1789, perhaps even before that, it had been the willingness of politicians to exploit either the threat or the fact of violence that had given them the power to challenge constituted authority. Bloodshed was not the unfortunate by product of revolution, it was the source of energy.

From the days of the Founding Fathers, right to this (2008) election, how and where America fights to defend its freedom, has been the ultimate question in its politics. The one that triggers rage and sorrow; the one that asks is the price of blood too dear? Or, if it is to stay true to its convictions, does America have no coice but to put its lives on the line?

I don't really like the autumn. For me it is the beginning of winter and I hate the winter. White, the colour of death.

I first read War And Peace about 100 years after Tolstoy wrote it.

In its Greek origins, historia meant inquiry, and from Thucydides onwards, the past has been studied to understand its connections with the present.

In the end, history, especially British history with its succession of thrilling illuminations, should be, as all her most accomplished narrators have promised, not just instruction but pleasure.

Irreverence is the lifeblood of freedom.

Landscapes are culture before they are nature; constructs of the imagination projected onto wood and water and rock. It is... difficult to think of a single natural system that has not, for better or worse, been substantially modified by human culture. The cultural habits of humanity have always made room for the sacredness of nature.

Taxation, the very thing that had triggered the British civil wars, would do so again, this time in America. The taxes may have been different, but the result would once again be disaster. What happened in America was really round two of those wars - the civil war of the British Empire, with the Hanoverians playing the part of the Stuarts, and the Americans the heirs of the revolutionaries, of Cromwell and of William III, the inheritors of a true British liberty, that had somehow got lost in its own motherland.

The next worse thing to a battle lost is a battle won.

There are some places where history just grabs you by the jugular. This is one of them.

Walking on camera is damn hard. It's a Jewish problem. The rangy stride across the blasted moor is not really a Jewish thing.

What can art really do in the face of atrocity?