J. G. Ballard Quotes

All cultures forged by nations—the noble indigenous past of America, the brilliant civilization of Europe, the wise history of Asian nations, and the ancestral wealth of Africa and Oceania—are corroded by the American way of life. In this way, neoliberalism imposes the destruction of nations and groups of nations in order to reconstruct them according to a single model. This is a planetary war, of the worst and cruelest kind, waged against humanity.

All this Americanising and mechanising has been for the purpose of overthrowing the past. And now look at America, tangled in her own barbed wire, and mastered by her own machines.

The past was a consumable, subject to the national preference for familiar products. And history, in America, is a dish best served plain. The first course could include a dollop of Italian in 1492, but not Spanish spice or French sauce or too much Indian corn. Nothing too filling or fancy ahead of the turkey and pumpkin pie, just the way Grandma used to cook it.

All too often, schools resemble museums, reflecting the past rather than shaping the future

Obviously, I would have been happier if Canada had not been conquered in the past by the English, if this part of North America had remained French, but you can't rewrite history.

I think there was a point in the past when I felt that my options as an artist were either to make race a nonissue and deny its impact on life and just say, "Don't think of me as an Asian cartoonist. Just think of me as a cartoonist."

Civilization is an active deposit which is formed by the combustion of the Present with the Past. Neither in countries without a Present nor in those without a Past is it to be encountered. Proust in Venice, Matisse's birdcages overlooking the flower market at Nice, Gide on the seventeenth-century quais of Toulon, Lorca in Granada, Picasso by Saint-Germain-des-Prés: there lies civilization and for me it can exist only under those liberal regimes in which the Present is alive and therefore capable of assimilating the Past.

I learned very quickly that when you emigrate, you lose the crutches that have been your support; you must begin from zero, because the past is erased with a single stroke and no one cares where you’re from or what you did before.

I distrust all multiculturalism, liberal or conservative. The Balkans amply demonstrate the perils of Balkanization.

Latin, as we all know, ultimately broke down into Spanish, Italian, French, and so on. One wonders whether there will be an imperial parallel with English breaking down into, shall we say, North American, European, Australian, and so on. On the other hand, there is this immense, inward-driving influence of radio and television that is bringing us all back together. One could say it's a fight between the two: a fight between regionalism and the standardization through communication.

I'm a refugee from the past, and like other refugees I go over the customs and habits of being I've left or been forced to leave behind me, and it all seems just as quaint, from here, and I am just as obsessive about it.

For all the casual slurs about 'cultural imperialism', British imperialists were more interested in other cultures than anybody before or since, and, if they hadn't dug it up and taken care of it, we'd know hardly anything about the ancient world. What's important about a nation's past is not what it keeps walled up in the museum but what it keeps outside, living and breathing as every citizen's inheritance.

It is important to note that multiculturalism does not share the postmodernist stance. Its passions are political; its assumptionsempirical; its conception of identities visceral. For it, there is no doubting that history is something that happened and that those happenings have left their mark within our collective consciousness. History for multiculturalists is not a succession of dissolving texts, but a tense tangle of past actions that have reshaped the landscape, distributed the nation's wealth, established boundaries, engendered prejudices, and unleashed energies.

Everyone who lives in an industrialized society is obliged gradually to give up the past, but in certain countries, such as the United States and Japan, the break with the past has been particularly traumatic.

The internationalization of art becomes a factor contributing to the estrangement of art from the artist. The sum of works of all times and places stands against him as an entity with objectives and values of its own. In turn, since becoming aware of the organized body of artworks as the obstacle to his own aesthetic self-affirmation, the artist is pushed toward anti-intellectualism and willful dismissal of the art of the past.

Cultural contamination that is directed outward is always seen as ‘enlightenment.'

American is deteriorating because it is becoming like other countries

Indeed, this is an important characteristic of the globalization debate: the tendency toward glorifying all things indigenous even when they deserve to be left in the past.

There is a theory that sooner or later anything in America that is any fun at all will be ruined by people from California.

I was a terrible history student. They taught me history as if it were a visit to a wax museum or to the land of the dead. I was over twenty before I discovered that the past was neither quiet nor mute.

We are being swallowed up by the popular culture of the United States, but then the Americans are being swallowed up by it too. It's just as much a threat to American culture as it is to ours.

The recent past is full of diverse examples of writers - Mahfouz in Egypt, Pamuk in Turkey, and more interestingly, Pasternak in the Soviet Union - who have conducted their arguments with their societies and its political arrangements through their art in subtle, oblique ways. They didn't always have the license to make bold pronouncements about freedom, democracy, Islam, and liberalism, but they exerted another kind of moral authority through their work.

Microsoft has had clear competitors in the past. It's a good thing we have museums to document that.

There's a real connection between the history of print in Europe and nationalism, and how those two things could be formed. I think they may both now be ending, for good and bad, but I think mainly for good. Either globalism was supposed to make people all realize this is one big business going on and we should know what's going on everywhere, or it makes people say, "I don't want to become part of this thing. I want to be incredibly different from you and I want to uphold my local behavior." Dress a certain way.

People from all over the world came to America and assimilated into a single culture rooted in the founding, which is rooted in individual liberty and primacy of citizen over government. Everybody who came here, that's what drew them.