Simon Schama
Simon Schama
Simon Michael Schama, CBEis an English historian specializing in art history, Dutch history, and French history. He is a University Professor of History and Art History at Columbia University, New York. He first came to popular public attention with his history of the French Revolution titled Citizens, published in 1989. In the United Kingdom, he is perhaps best known for writing and hosting the 15-part BBC television documentary series A History of Britain broadcast between 2000 and 2002...
NationalityBritish
ProfessionHistorian
Date of Birth13 February 1945
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.
The default mode of modern writing about art is to despise any notion of singularity as so much overheated genius-fetishism.
What can art really do in the face of atrocity?
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.
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.
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 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.
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.
As a schoolboy, poetry seemed defined by preciousness. It was all very rarefied.
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.
The challenge for a nonfiction writer is to achieve a poetic precision using the documents of truth but somehow to make people and places spring to life as if the reader was in their presence.
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.
It's not right to think about all of Jewish-German history as shrouded by the smoke of the crematorium.
I am strongly of the opinion that chronology is very important. The great arc of time is what children are wired for.