A Quote by Candice Millard
As someone who has long loved history and reads a lot of history, especially when you get a distance like 130 years, these people can seem almost mythical, and you need something tangible to make them real.
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I definitely love history. I'm not formally trained or educated in history, but you could say I did go back to college in 2008 to do Untold History of the United States. That took five years. Co-author Peter Kuznick has been teaching history for something like 35 years, at American University and other places. His group of researchers brought me into contact with a lot of books.
I think where you're born brings a history with it - a cultural history, a mythical history, an ancestral history, a religious context - and certainly influences your perception of the world and how you interpret everyday reality.
All other forms of history - economic history, social history, psychological history, above all sociology - seem to me history with the history left out.
Men need history; it helps them to have an idea of who they are. But history, like sanctity, can reside in the heart; it is enough that there is something there.
You are doing something over here and over there someone is telling you a joke, or giving you an important piece of information about sanitation, and no matter how weird the other subject is, there is a connection, or you can make a connection. I’ve always loved history and history is collage, it is a juxtaposition of the good and the bad and the strange, and how you place those sentences together changes the whole mood of a history.
Music expresses feeling, that is to say, gives shape and habitation to feeling, not in space but in time. To the extent that music has a history that is more than a history of its formal evolution, our feelings must have a history too. Perhaps certain qualities of feeling that found expression in music can be recorded by being notated on paper, have become so remote that we can no longer inhabit them as feelings, can get a grasp of them only after long training in the history and philosophy of music, the philosophical history of music, the history of music as a history of the feeling soul.
There's a lot we should be able to learn from history. And yet history proves that we never do. In fact, the main lesson of history is that we never learn the lessons of history. This makes us look so stupid that few people care to read it. They'd rather not be reminded. Any good history book is mainly just a long list of mistakes, complete with names and dates. It's very embarrassing.
Real Madrid is like Manchester United or Liverpool or Bayern Munich. There is so much history, and you need to play and win against that history. It's difficult to play against them because you fight against everything - the history, the players - but because of that, the motivation is always so high.
We normally think of history as one catastrophe after another, war followed by war, outrage by outrage - almost as if history were nothing more than all the narratives of human pain, assembled in sequence. And surely this is, often enough, an adequate description. But history is also the narratives of grace, the recountings of those blessed and inexplicable moments when someone did something for someone else, saved a life, bestowed a gift, gave something beyond what was required by circumstance.
If Mother Culture were to give an account of human history using these terms, it would go something like this: ' The Leavers were chapter one of human history -- a long and uneventful chapter. Their chapter of human history ended about ten thousand years ago with the birth of agriculture in the Near East. This event marked the beginning of chapter two, the chapter of the Takers. It's true there are still Leavers living in the world, but these are anachronisms, fossils -- people living in the past, people who just don't realize that their chapter of human history is over. '
We need to make sure that our children know different kinds of people, eat different kinds of food, and learn our true history. The way most schools teach history is wrong. If they talk about slavery it's typically just for a couple of days and the lessons almost never address the systems that have hindered people of color for more than 250 years. This has to change.
Right around the end of the fifties, college students and young people in general, began to realize that this music was almost like a history of our country - this music contained the real history of the people of this country.
Part of what I loved - and love - about being around older people is the tangible sense of history they embody. I'm interested in military history, for instance, because both my grandfathers fought in World War II. I'm interested in writing because one of those grandfathers wrote books.
After school, I went to Damascus to study law and history, which I didn't really like. I didn't like history, in particular. In Syria, the regime was trying to present to us a distorted version of the past. Assad was shown as the father of history. So I decided to shift to film, which was something I had always loved as a teenager.
If, in schools, we keep teaching that history is divided into American history and Chinese history and Russian history and Australian history, we're teaching kids that they are divided into tribes. And we're failing to teach them that we also, as human beings, share problems that we need to work together with.
Maybe we've been brainwashed by 130 years of Yankee history, but Southern identity now has more to do with food, accents, manners, music than the Confederate past. It's something that's open to both races, a variety of ethnic groups and people who move here.
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