A Quote by Zbigniew Brzezinski

I don't feel I was 'born American,' but my homeland was denied to me after the end of World War II, and I craved something I could identify with. When I became a student at Harvard in the 1950s, America very quickly filled the vacuum. I felt I was American, but I think it's more revealing of America how quickly others here accepted me.
I don't feel I was "born American," but my homeland was denied to me after the end of World War II and I craved something I could identify with.
America felt victorious and generous after World War II. They had also learned from the mistakes after World War I when they imposed punishment on Germany. What became of Germany? A Nazi dictatorship which threatened the world. Today's Germany doesn't feel as prosperous and generous as America then. But actually, Germany still is very prosperous.
My parents left Iran in 1979 and moved to France and then moved to the U.S. My brother was born in France and I was born in New York. I think my parents left France because they felt their kids would never be accepted by French culture. Here they thought we could feel American - that we could feel safe in that way - which was important to them, given what their experiences were in Iran. They used to joke about how I could be president because I was the only one born in America.
By the 1950s The Novel had become a nationwide tournament. There was a magical assumption that the end of World War II in 1945 was the dawn of a new golden age of the American Novel, like the Hemingway-Dos Passos-Fitzgerald era after World War I.
I'm an immigrant to the U.S., and I've constantly been thinking about America both from the inside and from the outside. And I've come to believe that we're living at a critical time when the American Dream is in jeopardy and this American Era which began after World War II might be winding down.
Gore Vidal, Glenn Greenwald, Noam Chomsky, talk about how the U.S. became a national security state after World War II. Essentially there's this bipartisan foreign policy elite who've been calling the shots for the last few decades and they're clearly still in control regardless of how clownish or absurd they demonstrate themselves to be. There's no shaking their orthodoxy. To me it was the most depressing thing, these full-scale military interventions firsthand for a number of years, seeing how quickly we can get involved in another war with very little debate.
The attitude of the American public toward the external projection of American power has been much more ambivalent. The public supported America's engagement in World War II largely because of the shock effect of the Japanese attack on Pearl Harbor.
When we look at the arts and letters in America, especially if we look at poetry, and poetry set to music, this dialogue, we have this very powerful beautiful, eclectic, diary, or narration of being in America, being American, participating in America, becoming more of America and also as an American, the American creative spirit, which is quite interesting. Our composers and poets have spent more time writing and thinking and speaking out of what it means to be a composer or poet as well as to be an American, or a composer or poet In America; both relationships.
It's very important to understand that World War II is at the base of this new policy. From the 1890s on, the U.S. was always imperialistic. We went after the Philippines, and we did the same in Cuba, in Hawaii. We controlled South America. Woodrow Wilson was not what he was supposed to be. He was very much a white man first. "The world must be made safe for democracy." It really accelerates after World War II.
Foreigners have a complex set of associations in their minds when they think of America - from Iraq to 9/11, certainly, but also from Coke to jeans. It is entirely possible for people around the world to love American products, American books, American movies, American music, and dislike the policies of the government of America.
America always seemed to me this foreign land that I imagined I could escape to if I needed to get away - and I think that came both from the fact that I was born there and from watching so many American movies when I was a kid. I was brought up on American films.
With a few exceptions like Kraftwerk, most great 20th century Western music is in some way American-based. And the great paradox of America, the paradox that distills America, is that this greatest of American contributions to humanity, this American contribution that probably has influenced more people around the world for the good, that probably has brought more people around the world unqualified joy, was born of America's greatest evil, slavery. Or one of the two great evils anyway, counting the European extinction of those who were on the continent first.
My parents came to this country after World War II, Jews from Czechoslovakia who had survived Auschwitz and Dachau. They settled with my sister in rural Ohio in the 1950s, where my dad became the town doctor and I was born.
For me, the experience of not living in America was recognizing that I was American. You don't think about yourself being so culturally encoded, so nationally stamped; you don't discover that when you're a tourist for a month. You see how you reflect the place you're from. When I came back from living in Europe, I was very struck by how I didn't see America as the center of the world in the same way. It's very easy to slip back because America is so powerful. But any place you live is the center of the world.
I suspect most likely that more Nazis came to America. I was a student at Harvard during the early 1950s. There was practically no Jewish faculty there.
America was probably Europe's equal scientifically by the end of World War I and certainly surpassed it after the chaos of World War II.
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