67 quotes found
"When a war is won, it's the losers, not the winners, who are liberated."
"Disease-carrying thoughts swarm and multiply in the dark and twisted labyrinths of our minds, and all that is needed is a mob and a good political slogan for the epidemic to be spread once again, with a burst of automatic weapons or a mushroom cloud."
"I sat day after day in my little room, waiting for inspiration to visit me, trying to invent a pseudonym that would express, in a combination of noble and striking sounds, our dream of artistic achievement, a pen name grand enough to compensate for my own feeling of insecurity and helplessness at the idea of everything my mother expected from me."
"A writer’s subconscious is one of the filthiest places there are: as a matter of fact, you can find the whole world there."
"There is more to Jewish history than Auschwitz."
"Gari in Russian means "burn!"… I want to test myself, a trial by fire, so that my I is burned off."
"During the war he was an airman and slaughtered civilians from on high."
"The gossip that came back to me from fashionable dinners where people pitied poor Romain Gary, who must be a little sad, a little jealous of the meteoric rise in the literary firmament of his cousin Emile Ajar… I’ve had a lot of fun. Good-bye, and thank you."
"Humour is an affirmation of dignity, a declaration of man's superiority to all that befalls him."
"The bombs I dropped on Germany between 1940 and 1944 maybe killed a Rilke or a Goethe or a Hölderin in his cradle. And yes, of course, if it had to be done over, I would do it again. Hitler had condemned us to kill. Not even the most just causes are ever innocent."
"Gary’s life was shaped by war, revolution, emigration, anti-Semitism, defeat, and murderous low-altitude bombing runs. But he never wallowed in victimhood – quite the contrary. He wrote scathing satires of the victim syndrome, and never claimed that his changes of country and language were anything but opportunities to be someone else. He didn’t need to know whether he was Russian, or Jewish, or Polish, or Catholic, or French. In a questionnaire on ethnic identity he would have answered: all of the above. Gary is a good model for our own century of transnational lives."
"In 1966, Gary and Seberg visited the memorial of the Warsaw ghetto, in the city where he’d lived as a child for several years before moving to France. This confrontation with the trauma of history — a horror he narrowly avoided — was overwhelming. Gary hallucinated the arm of a hidden Jew emerging from a sewer grill shaking its fist, and fainted from the shock. When he came to, some combination of survivor’s guilt and righteous anger was conceived, taking shape in The Dance of Genghis Cohn (1967) — a breathtakingly original, hilarious, and complex exploration of Gary as a man, an author, and a Jew. Genghis (né Moishe) Cohn, a comedian from Berlin imprisoned in Auschwitz, exposes his bare bottom to Schatz, the SS officer who kills him, and instructs him to “Kush mire in toques.” (Opines Cohn’s ghost: “There have undoubtedly been more worthy and noble last words in history than ‘Kiss my ass,’ but I have never made any claim to greatness and, besides, I’m quite pleased with my effort…”)."
"Too famous for his work to be judged without bias, Gary felt he needed to break free from categorization. So, in 1973, at age 59 — the same age his mother was when she died — Gary invented Émile Ajar. He was by then twice divorced, retired from the diplomatic corps, and had published 22 books, including the Goncourt-winning The Roots of Heaven (1956), about illegal elephant poaching in Africa. It was time for a new adventure, as he explains in The Life and Death of Émile Ajar: “I was tired of being nothing but myself…there was the nostalgia for one’s youth, for one’s debut, for one’s renewal…. I was profoundly affected by the oldest protean temptation of man: that of multiplicity.” … events turned downright farcical. The Life Before Us was awarded the 1975 Prix Goncourt, the rules of which stipulate that it may be awarded to an author just once in his lifetime, and Gary had already received it for The Roots of Heaven. He instructed Ajar’s lawyer to turn down the honor on her client’s behalf, but the prize administrators would hear nothing of it. “The Goncourt Prize cannot be accepted or refused any more than life and death. Mr. Ajar remains the laureate.”"
"Beyond Gary’s creative mendacity, one aspect of his life was indubitably genuine. After Germany invaded France, Gary escaped to London, where he became a war hero, serving as a fearless bomber pilot for the Free French Forces. Flying missions even when recuperating from battle wounds, Gary fought a feisty personal, even visceral battle against the Nazis (in one interview, Gary described himself as “testicularly anti-racist”) that was a concrete reality in a life devoted to more amorphous artistry, and his wartime loyalties remained a permanent obsession."
"When it counted, Gary was ultimately accurate, as when he left a suicide note in 1980, explaining that he decided to end his life because he had written all he wished to write and not because his estranged and tormented ex-wife, film star Jean Seberg, had committed suicide a year earlier. Yet such basic home truths in Gary’s life and work can be obscured by his prose style and grandiose, self-mythifying persona. The Dance of Genghis Cohn itself demonstrates Gary’s paradoxical approach of using, as Bellos observes, “vulgarity and coruscating wit to defeat the greatest obscenity of 20th-century history, the slaughter of the Jews by Nazi Germany.” The novel’s protagonist (a blend of Mongol and Jewish, as Gary himself claimed to be), murdered by the Nazis in 1943, becomes a dybbuk in the mind of his executioner. The victim/protagonist forces his murderer to sing songs redolent of Yiddishkeit, like “My Yiddishe Mama.” Such burlesque ironies, painted with broad brushstrokes in a popular novel published one year before the release of Mel Brooks’s film The Producers, demonstrated the comic potential of ridiculing Hitler, but offended some readers in France, notably a critic from the weekly news magazine L’Express, who termed The Dance of Genghis Cohn an “affront to the memory of those who died at Auschwitz.” Forty-five years on, readers and critics are relishing the same pitilessly absurdist authorial voice, describing savage and coarse events of modern history in the savage and coarse terms that so troubled Gary’s readers when his books first appeared decades ago."
"In 1975, Emile Ajar's second novel, La Vie devant soi, was a French literary sensation. The fictionalised memoir of an Arab boy growing up in a Parisian suburb, packed with extraordinary slang, aggressive jokes and almost unbelievable characters, the book was lathered with praise by critics, eventually winning the Goncourt, the French equivalent of the Booker. It went on to become the bestselling French novel of the 20th century. There was only one problem: Ajar was actually Roman Gary, already a bestselling French author (and previous winner of the Goncourt, which is supposed to be awarded to any particular writer only once), who had reinvented himself to outwit the literary establishment and win a new readership."
"By the time Romain Gary shot himself in the head, the French-Russian writer had published over fifty novels under four different names, directed two movies, fought in the air force, and represented France as a consul. His marriages — first to the British writer Lesley Branch, then to the American actress Jean Seberg — had brought him celebrity. He had enmeshed some of France’s literary giants in an elaborate hoax that broke fundamental precepts of the country’s cultural institutions. But Gary always saw his own life as a series of incomplete drafts. Even as he planned his own death, he remained on the path to self-improvement. “To renew myself, to relive, to be someone else, was always the great temptation of my existence,” read the essay he left with his suicide note. It’s perhaps no surprise that biographies of the author often seem overwhelmed by the slippery nature of their subject. “Romain Gary: The Chameleon,” “Romain Gary: The Man who Sold his Shadow.” Gary was one of France’s most successful writers, but he lived the life of a spy."
"To win a woman in the first place one must please her, then undress her, and then somehow get her clothes back on her. Finally, so she will allow you to leave her, you've got to annoy her."
"The flower is the poetry of reproduction. It is an example of the eternal seductiveness of life."
"When you see a woman who can go nowhere without a staff of admirers, it is not so much because they think she is beautiful, it is because she has told them they are handsome."
"A golf course is the epitome of all that is purely transitory in the universe; a space not to dwell in, but to get over as quickly as possible."
"Vous êtes avocat! Vous avez le devoir au contraire de recourir à toutes les ruses pour défendre vos clients. Au mensonge. A la calomnie."
"In wartime a man is called a hero. It doesn't make him any braver, and he runs for his life. But at least it's a hero who is running away."
"Everyone always dies for his country. If you have lived in it, well and wisely and actively, you die for it too."
"As soon as war is declared it will be impossible to hold the poets back. Rhyme is still the most effective drum."
"Born enemies don't fight. Nations you would say were designed to go to war against each other — by their skins, their language, their smell: always jealous of each other, always hating each other — they're not the ones who fight. You will find the real antagonists in nations fate has groomed and made ready for the same war."
"There is no better way of exercising the imagination than the study of law. No poet ever interpreted nature as freely as a lawyer interprets the truth."
"Only the mediocre are always at their best."
"The secret of success is sincerity. Once you can fake that you've got it made."
"Deux grands princes qui se voudroient bien entr'aymer, ne se devroient jamais voir, mais envoyer bonnes gens et sages les uns vers les autres, et ceux là les entretiendroient ou amenderoient les fautes."
"Ces deux ducs dessusdits estoient sages après le coup (comme l'on dit des Bretons)."
"Car on ne doit point tenir pour conseil ce qui se fait après disner."
"Qui a le profit de la guerre, il en a l'honneur."
"Les roys et princes en sont trop plus forts, quand ils l'entreprennent du consentement de leurs subjets, et en sont plus craints de leurs ennemis."
"Or, selon mon advis, entre toutes les seigneuries du monde, dont j'ay connoissance, où la chose publique est mieux traictée, et où règne moins de violence sur le peuple, et où il n'y a nuls édifices abatus, ni démolis pour guerre, c'est Angleterre; et tombe le sort et le malheur sur ceux qui font la guerre."
"Vous y trouverez le langage doux et aggreable, d'une naïfve simplicité, la narration pure, et en laquelle la bonne foy de l'autheur reluit evidemment, exempte de vanité parlant de soy, et d'affection et d'envie parlant d'autruy : ses discours et enhortemens, accompaignez, plus de bon zele et de verité, que d'aucune exquise suffisance, et tout par tout de l'authorité et gravité, representant son homme de bon lieu, et élevé aux grans affaires."
"L'arbre de la liberté ne croit qu'arrosé par le sang des tyrans."
"II n'ya que les morts qui ne reviennent pas."
"Officium officialium, quorum te numero aggregasti, hodie est, jura confundere, suscitare lites, transactiones rescindere, innectere dilationes, suprimere veritatem, fovere mendacium, quaestum sequi, aeqitatem vendere, inhiare exactionibus, versutias concinnare."
"Aqua turbida piscosior est."
"Male ulciscitur dedecus sibi illatum, qui amputat nasum suum."
"France is the nation of the rights of man. … I am sure that none of you commits the insult of thinking that the government, the army, or the administration could wish for and organize torture."
"There will be no peace in Europe if the States rebuild themselves on the basis of national sovereignty, with its implications of prestige politics and economic protection…. The countries of Europe are not strong enough individually to be able to guarantee prosperity and social development for their peoples. The States of Europe must therefore form a federation or a European entity that would make them into a common economic unit."
"Through the consolidation of basic production and the institution of a new High Authority, whose decisions will bind France, Germany and the other countries that join, this proposal represents the first concrete step towards a European federation, imperative for the preservation of peace."
"Continue, continue, there is no future for the people of Europe other than in union."
"Make men work together show them that beyond their differences and geographical boundaries there lies a common interest."
"[A]fter eighty-nine years of his life, Monnet remains, as he has been throughout, impregnably optimistic but not Utopian. He does not believe in miracles, and although he believes that crucial moments of opportunity must never be lost, he gives more importance to patience and direction than to speed and the construction of false timetables. His modesty and manner is underpinned by an unshakeable intellectual self-confidence. ... He is undoubtedly a great man, who has lived a remarkable life."
"Messieurs, nous avons un maître, ce jeune homme fait tout, peut tout, et veut tout."
"J'ai vécu."
"La mort sans phrase."
"Une nation de singes à larynx de parroquets."
"Le naturel est le sceau du génie."
"On ne rit plus, on sourit aujourd'hui, Et nos plaisirs sont voisins a l'eunui."
"Malheureux qui craint de rentrer Dans la retraite de son âme! Le coeur qui cherche a s'ignorer Redoute un censeur qui le blâme."
"L'amour sacré de la patrie."
"Quel triste élève de la Grè Pourrait, en voyant sa beauté, Préférer les lis de Lucrèce, Et les paleurs de la sagesse, Aux roses de la volupté?"
"Monseigneur, j'attendrai"
"Classic art was like a king who has the right to govern, punish, reward, and choose his favorites from an aristocracy, obliging them to adopt conventional rules as to manners, morals, and modes of speech. The new art tries to imitate nature in its unconsciousness, its moral indifference."
"All contemporary forms of art have secret bonds in common."
"Let us not expect Russia to do what she is incapable of, to restrict herself within certain limits, to concentrate her attention upon one point, or bring her conception of life down to one doctrine. Her literary productions must reflect the moral chaos which she is passing through."
"Vogüé was a stoic, but beneath his moral austerity there glowed humanity none the less attractive because it was veiled by reserve."
"Défiez-vous des premiers mouvements, ils sont presque toujours bons."
"Que tes ennemis expirants Voient ton triomphe et notre gloire!"
"That's a necessity for fighting terrorism, not only for us, but for the free world itself."
"Immediately the large reaction was that nobody can accept what happened, so we can say freedom of speech is safe, in a way. Victory's already there because that was the forefront."
"No human power can now stop the march of a nation destined to exert its influence all over the world and perhaps to dominate it."
"... many Europeans today go to Pelasgians, who are no less distant or savage, and for equally slight gains, to discover African Arkadias. The taste for voyages and adventures is not the monopoly of any one period or any one race, and the extraordinary dispersion of Semites in the contemporary world ... It is true that modern travellers have two motives that the Sidonians do not appear to have possessed, at least to the same degree: scientific curiosity and religious zeal. Furthermore, this comparison between the Pelasgians and the modern Congolese may be surprising. However, one should be on guard against two preconceived ideas, or rather two little-reasoned and almost unconscious feelings: ... our European chauvinism and also what one could call, without too much irreverence, our Greek fanaticism.From Strabo to Ritter, all the geographers have taught us to consider our Europe as a land favoured above all others, unique and superior to all the others in beauty ... in elegance of forms and power of civilization ... This way of looking at the world perhaps can influence a large number of our most habitual thoughts, despite ourselves or almost without our knowledge. We put Europe on one side and Asia or Africa on the other—and between the two, an abyss. When we talk about Asiatic influences on a European country we cannot imagine ... that barbarians could have dared to come to us. Harsh reality forces us to admit that they have sometimes flooded in. Certain people even maintain that the cradle of our first ancestors was far from our Europe, in the centre of Asia. But for our Aryan fathers we have the indulgence of good sons in that even if they came from Asia, they were not Asiatics, they were for all eternity Indo-Europeans. By contrast, an invasion from Semitic Asia to our Aryan Europe is repugnant to all our prejudices. It seems really as if the Phoenician coast was further away from us than the Iranian plateau. It also appears that the Arab invasion throughout the Mediterranean was only a unique fluke, an unfortunate chance ... which one should not for an instant suppose could be repeated. That the Phoenicians occupied Carthage and possessed half Tunisia only concerns Africa. That the Carthaginians in their turn conquered Spain and three-quarters of Sicily is [all right because they are] only, as we say, Africa. But when we find Phoenician traces at Marseilles, Praeneste, Kythera, Salamis Thasos and Samothrace, in Boiotia and in Lakonia at Rhodes and in Crete we do not want, as in Africa, real occupations; we only talk about temporary landings or simple trading posts ... If we go as far as pronouncing the words fortresses or Phoenician possessions we hasten to add that they were only coastal establishments ... This European chauvinism becomes a veritable fanaticism when it is not in Gaul, Etruria, Lucania or Thrace but in Greece that we meet the stranger. At the beginning of this century, all Europe rose up ... the generous Philhellenism of 1820 is no longer fashionable. But one can say that the sentiment has not greatly changed ... We can only conceive of Greece as the country of heroes and gods. Under porticos of white marble ... In vain does Herodotos tell us that everything comes from Phoenicia and Egypt. We know what we should think of dear old Herodotos. After twenty years of Archaeology have provided us, every day and in all the Greek states, with indisputable proofs of Oriental influence, we are still not allowed to treat Greece as an Oriental province like Caria, Lycia or Cyprus because of this. If in our geography we separate Europe from Asia, in our history we separate Greek history from what we call ancient history. We see, nevertheless, from their material and tangible monuments that the Greeks ... were the pupils of Phoenicia and Egypt, and we see that they borrowed from the Semitic Orient right up to their alphabet; yet we recoil with some shock at the sacrilegious hypothesis that their institutions, their customs, their religions, their rituals, their ideas, their literature and all their primitive civilization could also be inherited from the Orient."